Giorgio Vasari’s conception of artistic creativity is related to his theory of painting. He proposes two alternatives in a painter’s development or achievement of artistic creativity: imitation (imitazione) and inve...Giorgio Vasari’s conception of artistic creativity is related to his theory of painting. He proposes two alternatives in a painter’s development or achievement of artistic creativity: imitation (imitazione) and invention (invenzione).Imitation is the copying of art as a method of learning, whereas invention is independent of imitation and constitutes the means for conceiving artistic ideas. Imitation serves to guide and teach the artist in composing and creating perfection. Vasari maintains that artists must study antiquity and the masters, so that they may learn how others acquired the experience of imitating nature. For Vasari, imitation draws upon three different sources: the first two are copying from nature (copia dal vero) and the third one is selecting from one’s work (imitare se stessi). He emphasizes that copying from nature is important for the artist so that he may learn to create forms that are alive as visualized in the Fine Arts.展开更多
From the variety of types of portraiture,there evolved the imaging of a self-portrait as we see in Saint Catherine of Alexandria by Barbara Longhi of Ravenna(1552-1638).The self-portrait is a unique work of art,an int...From the variety of types of portraiture,there evolved the imaging of a self-portrait as we see in Saint Catherine of Alexandria by Barbara Longhi of Ravenna(1552-1638).The self-portrait is a unique work of art,an intimate record of a sitter’s personality.It is an acknowledgment of worth,an exercise in technique,and a designator of era,style,and likeness.The self-portrait can be a study in expression,an impersonation of a virtue,or a document in a history of aging.As William Shakespeare noted in Hamlet,“[The self-portrait is]to show virtue her own feature,scorn her own image,and the very age and body of the time his form and pressure.”In the sixteenth-century in Italy,artists often included themselves or their self-portraits in religious and secular scenes as a type of signature,as seen in the paintings of the Longhi family.In their many depictions of Saint Catherine of Alexandria,the Longhis composed two types of such images:a single-solo-image of the saint;and also her presence in a group with saints-a theme known as holy conversation.In her paintings,Barbara Longhi preferred to depict the solo image of Saint Catherine of Alexandria,using herself as a model for the figure of the saint or as a muse impersonating or personifying the saint’s virgo virtue.This essay is composed of two parts:(1)a brief explanation of the meaning of self-portraits in sixteenth-century Italy;and(2)a study of Barbara Longhi’s self-portraits as Saint Catherine of Alexandria.展开更多
The first part of this essay deals with Giorgio Vasari＇s conception of architecture in sixteenth-century Italy, and the second part examines Vasari＇s practical application of one of his constructions, the loggia （o...The first part of this essay deals with Giorgio Vasari＇s conception of architecture in sixteenth-century Italy, and the second part examines Vasari＇s practical application of one of his constructions, the loggia （open gallery or arcade） or corridoio （corridor）. The essay also discusses the merits of Vasari＇s open gallery （loggia） as a vernacular architectural construct with egalitarian functions and Vasari＇s principles of architecture （design, rule, order, and proportion） and beauty （delight and necessity） for the formulation of the theory of art in Mannerism, a sixteenth-century style of art.展开更多
Barbara Longhi of Ravenna(1552-1638)enjoyed creating small devotional paintings depicting holy saints,in particular Saint Agnes(c.291-304).This saint’s life and martyrdom was recorded by the Bishop of Milan,Saint Amb...Barbara Longhi of Ravenna(1552-1638)enjoyed creating small devotional paintings depicting holy saints,in particular Saint Agnes(c.291-304).This saint’s life and martyrdom was recorded by the Bishop of Milan,Saint Ambrose(339-397),a Doctor of the Church and theologian,in his book Concerning Virgins(374)and by Jacobus de Voragine,the Archbishop of Genoa,in his Golden Legend(Legenda Aurea,1275).The saint’s story continues to be imaged and recounted to the present day because she is an icon of a pure and virtuous adolescent female.Barbara Longhi,along with her father,Luca Longhi(1507-1580),painted several versions of Saint Agnes.In their many depictions they composed two types of images:a single-solo-image of the saint;and her presence in a group of saints-a theme known as holy conversation.In her paintings of Saint Agnes,however,Barbara Longhi preferred to depict the solo image of the saint as virgo,a young maiden of virtue.This essay is composed of two parts:(1)an account of the life and martyrdom of Saint Agnes;and(2)an iconographical interpretation of Barbara Longhi’s Saint Agnes of Rome.展开更多
In 1569,Giorgio Vasari(1511-1574)completed a painting of the Madonna of the Rosary for the private chapel of the Capponi family in the church of Santa Maria Novella in Florence.In his Ricordanze(Book of Records),Vasar...In 1569,Giorgio Vasari(1511-1574)completed a painting of the Madonna of the Rosary for the private chapel of the Capponi family in the church of Santa Maria Novella in Florence.In his Ricordanze(Book of Records),Vasari explained the commission as well as documenting the assistance of his Florentine pupil,Jacopo Zucchi(1541-1590),in the completion of this painting.This essay discusses Vasari’s symbolism of the rosary as a reflection of the Tridentine Reform in Florence as well as a visual interpretation of Italian Mannerist painters on this devotional subject.展开更多
文摘Giorgio Vasari’s conception of artistic creativity is related to his theory of painting. He proposes two alternatives in a painter’s development or achievement of artistic creativity: imitation (imitazione) and invention (invenzione).Imitation is the copying of art as a method of learning, whereas invention is independent of imitation and constitutes the means for conceiving artistic ideas. Imitation serves to guide and teach the artist in composing and creating perfection. Vasari maintains that artists must study antiquity and the masters, so that they may learn how others acquired the experience of imitating nature. For Vasari, imitation draws upon three different sources: the first two are copying from nature (copia dal vero) and the third one is selecting from one’s work (imitare se stessi). He emphasizes that copying from nature is important for the artist so that he may learn to create forms that are alive as visualized in the Fine Arts.
文摘From the variety of types of portraiture,there evolved the imaging of a self-portrait as we see in Saint Catherine of Alexandria by Barbara Longhi of Ravenna(1552-1638).The self-portrait is a unique work of art,an intimate record of a sitter’s personality.It is an acknowledgment of worth,an exercise in technique,and a designator of era,style,and likeness.The self-portrait can be a study in expression,an impersonation of a virtue,or a document in a history of aging.As William Shakespeare noted in Hamlet,“[The self-portrait is]to show virtue her own feature,scorn her own image,and the very age and body of the time his form and pressure.”In the sixteenth-century in Italy,artists often included themselves or their self-portraits in religious and secular scenes as a type of signature,as seen in the paintings of the Longhi family.In their many depictions of Saint Catherine of Alexandria,the Longhis composed two types of such images:a single-solo-image of the saint;and also her presence in a group with saints-a theme known as holy conversation.In her paintings,Barbara Longhi preferred to depict the solo image of Saint Catherine of Alexandria,using herself as a model for the figure of the saint or as a muse impersonating or personifying the saint’s virgo virtue.This essay is composed of two parts:(1)a brief explanation of the meaning of self-portraits in sixteenth-century Italy;and(2)a study of Barbara Longhi’s self-portraits as Saint Catherine of Alexandria.
文摘The first part of this essay deals with Giorgio Vasari＇s conception of architecture in sixteenth-century Italy, and the second part examines Vasari＇s practical application of one of his constructions, the loggia （open gallery or arcade） or corridoio （corridor）. The essay also discusses the merits of Vasari＇s open gallery （loggia） as a vernacular architectural construct with egalitarian functions and Vasari＇s principles of architecture （design, rule, order, and proportion） and beauty （delight and necessity） for the formulation of the theory of art in Mannerism, a sixteenth-century style of art.
文摘Barbara Longhi of Ravenna(1552-1638)enjoyed creating small devotional paintings depicting holy saints,in particular Saint Agnes(c.291-304).This saint’s life and martyrdom was recorded by the Bishop of Milan,Saint Ambrose(339-397),a Doctor of the Church and theologian,in his book Concerning Virgins(374)and by Jacobus de Voragine,the Archbishop of Genoa,in his Golden Legend(Legenda Aurea,1275).The saint’s story continues to be imaged and recounted to the present day because she is an icon of a pure and virtuous adolescent female.Barbara Longhi,along with her father,Luca Longhi(1507-1580),painted several versions of Saint Agnes.In their many depictions they composed two types of images:a single-solo-image of the saint;and her presence in a group of saints-a theme known as holy conversation.In her paintings of Saint Agnes,however,Barbara Longhi preferred to depict the solo image of the saint as virgo,a young maiden of virtue.This essay is composed of two parts:(1)an account of the life and martyrdom of Saint Agnes;and(2)an iconographical interpretation of Barbara Longhi’s Saint Agnes of Rome.
文摘In 1569,Giorgio Vasari(1511-1574)completed a painting of the Madonna of the Rosary for the private chapel of the Capponi family in the church of Santa Maria Novella in Florence.In his Ricordanze(Book of Records),Vasari explained the commission as well as documenting the assistance of his Florentine pupil,Jacopo Zucchi(1541-1590),in the completion of this painting.This essay discusses Vasari’s symbolism of the rosary as a reflection of the Tridentine Reform in Florence as well as a visual interpretation of Italian Mannerist painters on this devotional subject.
