Theory, practice and culture of 'disegno' in the Carracci's reform of the arts, 1582-1619.

这个博士项目旨在研究“disegno”（一个既表示实际设计又表示艺术概念的术语）在卡拉奇的“艺术改革”中的作用，并重新评估博洛尼亚绘画在巴洛克艺术史上的重要性。根据文艺复兴传记作家和理论家乔治·瓦萨里的说法，绘画是绘画、雕塑和建筑之父，是所有艺术赖以建立的智力原则。绘画是博洛尼亚学院的核心，该学院于1582年由Agostino和Annibale Carracci兄弟以及他们的堂兄Ludovico共同建立。卡拉奇家族倡导了一种完全不同的艺术方法，基于对自然和生活画的研究，并为艺术家教育创造了一种新的教学方式，最终在19世纪之前主导了欧洲艺术。通过分析从学院成立到1619年Ludovico去世的绘画的重要性、功能和用途，该项目将探索“disegno”的概念和实践，以及它对知识和视觉文化发展的影响。此外，通过探索Carracci与博洛尼亚艺术机构的关系，大学的知识界以及他们与其他艺术中心的互动，这项跨学科研究将为科学史（自然哲学）和教育史提供新的见解。这项研究的发现将为卡拉奇研究提供原始材料，并将为早期现代艺术史中的绘画研究提供一种新的方法。

This doctoral project intends to investigate the role of 'disegno' (a term that indicates both the actualdesign and the artistic concept) in the Carracci's "reform of the arts" and to reassess the importance ofBolognese draughtsmanship in the history of Baroque art. According to Renaissance biographer andtheorist Giorgio Vasari, drawing is the father of painting, sculpture and architecture and the intellectualprinciple upon which all arts are founded. Drawing was at the core of the Bolognese Academy,established in 1582 by the brothers Agostino and Annibale Carracci together with their cousin Ludovico.The Carracci promoted a radically different approach to art, based on the study of nature and lifedrawing, and created a new pedagogical path for the education of the artist, which eventually came todominate European art until the nineteenth century. By analysing the materiality, function and use ofdrawings in the Academy, from its foundation to the death of Ludovico in 1619, this project will explorethe concept and practice of 'disegno' and its impact on the development of knowledge and visual culture.Furthermore, by exploring the Carracci's relationship with the Bolognese artistic establishment, theUniversity's intellectual circles and their interaction with other artistic centres, this interdisciplinary studywill offer new insights into the history of science (natural philosophy) and the history of education. Thefindings of this research will contribute original material to the Carracci studies and will provide a newmethodological approach to the study of drawing in the history of early modern art.