Discrepant Traditions, ‚Old‘-‚New‘-Hybrids and Genre Mixtures in Venetian Painting and Art Theory of the Seicento

在修改后的标题下，该子项目旨在调查传统是如何构建的，以及如何在17世纪威尼斯艺术话语中对这些传统的求助。这种话语无论是在实际的艺术实践中，还是在理论和史学文本的形式中，都变得有形。这两种类型的媒体——图像和文本——因此构成了重新定位子项目的目标，其重点现在是双重的：一方面，它集中在彼得罗·德拉·维奇亚，弗朗西斯科·马费伊和乔瓦尼·巴蒂斯塔·兰格蒂的绘画实践，这些画家主要在威尼斯工作，但他们在意大利广泛旅行，并在超区域层面上有很好的联系；另一方面，它考察的理论和艺术史学的重点是威尼斯Seicento的最重要的文本，即马可·博斯基尼的不朽的说教诗，Carta del navegar pitoresco（1660）。这首诗以威尼斯方言的押韵诗写成，在诗歌和技术话语之间的边界上运作。虽然该项目最初关注的是理论论文，但考虑到图像媒体将开辟新的视角，这与研究小组普遍认识到需要综合各种类型媒体的比较优势相一致。因此，重新组合的子项目将重点关注以下问题：传统的谈判和视觉媒体中创新/新颖性的阶段如何首先变得明显，如何以视觉形式传达对传统的各种库存的求助和对“新颖性”的强调，以及在这种背景下，以何种形式可以遇到特定的基于图像的话语。项目的两条主线之间的联系源于博斯基尼不仅关注威尼斯绘画的黄金时代——16世纪，还关注他同时代的作品——他称之为“新”或“现代”风格。博斯基尼感兴趣的问题是他这一代的艺术家是如何与威尼斯绘画的各种传统联系在一起的，他详细地反映了这些传统；他们如何更新传统，或者他们如何试图摆脱传统，以展示“新颖性”或“现代性”；以及在这样做的过程中，他们如何定位自己与在意大利和其他几个欧洲国家非常成功的自然主义风格的关系。博斯基尼最全面讨论的画家包括彼得罗·德拉·维奇亚、弗朗西斯科·马费伊和乔瓦尼·巴蒂斯塔·兰格蒂。因此，他们的作品在该项目对实现异质传统的具体方式的调查中占据了中心位置。这些过程依赖于一般惯例，但它们也涉及持续强调创新/新颖性。为了应对这一现象，在重新定位的子项目中，将理论与实践紧密联系起来。

Under a modified title, the subproject seeks to investigate how traditions are constructed and how the recourse to these traditions is staged in the 17th-century Venetian discourse on art. This discourse becomes tangible both in actual artistic practice and in the form of theoretical and historiographical texts. Both types of media – image and text – thus constitute the objective of the repositioned subproject, whose emphasis is now twofold: on the one hand, it concentrates on the pictorial practice of Pietro della Vecchia, Francesco Maffei and Giovanni Battista Langetti, painters who mainly worked in Venice, but who travelled widely in Italy and were well connected at a supra-regional level; on the other hand, it examines the theory and historiography of art with a focus on the most important text of the Venetian Seicento, namely Marco Boschini’s monumental didactic poem, the Carta del navegar pitoresco (1660). Written in rhyming verse in the Venetian dialect, the poem operates on the boundary between poetic and technical discourse. While the project’s initial concern with theoretical treatises is to be continued, taking account of pictorial media will open up new perspectives in line with the research group’s general awareness of the need to integrate a comparative vantage point on various types of media. It thus falls to the realigned subproject to focus on the issue of how the negotiation of traditions and the staging of innovation/novelty in visual media become manifest in the first place, how the recourse to various inventories of tradition and the emphasis on ‘newness’ can be communicated in visual form, and in what shape a specifically image-based discursivity can be encountered in this context.The link between the project’s two main lines of inquiry results from Boschini’s focus not only on the golden age of Venetian painting, the 16th century, but also on the works of his contemporaries – the ,new‘ or ,modern‘ style, as he calls it. What Boschini is interested in is the question of how the artists of his generation engage with the various strands of tradition in Venetian painting that he reflects in great detail; how they update traditions, or how they try to break away from them in order to demonstrate ,newness‘ or ,modernity‘; and how, in so doing, they position themselves in relation to the style of the naturalisti that was so successful all over Italy and in several other European countries. The painters most comprehensively discussed by Boschini include Pietro della Vecchia, Francesco Maffei and Giovanni Battista Langetti. Consequently, their works take centre stage in the project’s investigation of the specific ways in which the recourse to heterogenous traditions is realised. These processes are dependent on generic conventions, but they also involve a continuous emphasis on innovation/novelty. In order to engage with this phenomenon, there will be a close link between theory and practice in the repositioned subproject.