L’esperienza del volo in aereo all’inizio del secolo scorso favorisce lo sviluppo di una nuova sensibilità verso la città e il territorio che trascende le visioni statiche dalla mongolfiera e ...introduce una accezione dinamica e, per certi versi, anti-prospettica, anche nella rappresentazione urbana. Questo articolo si concentra sul ventennio fascista e sul caso di Roma, che per varie ragioni storiche diviene un centro di sviluppo per la neonata aeronautica; indaga il rapporto tra l’opera degli artisti futuristi, che realizzano nell’aeropittura nuove modalità figurative, e quella degli architetti, sempre più spesso impegnati a fornire delle vedute a volo d’uccello di grandi progetti urbani; individua in alcuni architetti e disegni i segnali di un nuovo modo di rappresentare la città e di interpretare l’architettura dall’alto, in connessione col territorio circostante, che testimoniano l’esperienza dell’aereo sia in modo diretto che mediato dalla fotografia e dal cinema; mette infine in evidenza la resistenza dei modelli grafici architettonici convenzionali e una generale incapacità di cogliere i suggerimenti offerti dagli artisti da parte degli architetti.
The present contribution wants to focus the attention on the activity of those Italian and foreign artists, who, driven by curiosity or at the service of the sovereigns, travel far and wide, not ...without difficulties and dangers, the south of Italy up to Sicily. The paintings of views, the gouaches, the printed engravings of foreign painters help to spread a southern iconography, which will be at the base of the construction of the myth of the South. However, while building the imaginary of the Grand Tour, other voices resounded in the enchantment of the landscape of the South. Giuseppe Maria Galanti – extraordinary figure of the last Neapolitan Enlightenment – of that South had told, for example, the harshness of the cultivated lands, the harshness of the conditions of daily work, the misery of the villages far from the capital. Added to this were the natural calamities that confirmed, inexorably, how these enchanting and uncontaminated lands hid an intrinsic fragility. The earthquake of 1783, which devastated Calabria and part of Messina, as well as the one that destroyed on 13 August 1851 Melfi and with it much of Basilicata, were proof of the adversity of a nature hostile to man, "malignant" dispenser not only of evocative views, but of landscapes battered by landslides and crags.
Ambitious Form describes the transformation of Italian
sculpture during the neglected half century between the death of
Michelangelo and the rise of Bernini. The book follows the
Florentine careers ...of three major sculptors--Giambologna,
Bartolomeo Ammanati, and Vincenzo Danti--as they negotiated the
politics of the Medici court and eyed one another's work, setting
new aims for their art in the process. Only through a comparative
look at Giambologna and his contemporaries, it argues, can we
understand them individually--or understand the period in which
they worked. Michael Cole shows how the concerns of central Italian
artists changed during the last decades of the Cinquecento. Whereas
their predecessors had focused on specific objects and on the
particularities of materials, late sixteenth-century sculptors
turned their attention to models and design. The iconic figure gave
way to the pose, individualized characters to abstractions. Above
all, the multiplicity of master crafts that had once divided
sculptors into those who fashioned gold or bronze or stone yielded
to a more unifying aspiration, as nearly every ambitious sculptor,
whatever his training, strove to become an architect.
The Landscape Gouache Schwahn, Wolfgang
Restaurator,
12/2022, Volume:
43, Issue:
4
Journal Article
Peer reviewed
This article gives an overview over the development of gouache painting – from Flemish
, Lenten cloths (
paintings), miniature paintings, and landscape gouache in “heroic” and “rustic” styles to the ...landscape veduta of Alpine sceneries. The – often confusing – usage of the term gouache will be discussed and traced back in history, leading to a clear definition of our present-day conception. The findings are based on the study of art technological sources as well as observations of gouache paintings from a variety of different artists including Hans Bol, Marco Ricci, James Stuart, and Johann Ludwig Aberli. The author’s own experiences with gouache painting will also feed into the portrayal of a technique which in the past has often been disparaged and is underrepresented in the art technological research.
Views or vedutes, a subgenre of landscape painting, were extremely popular in eighteenth-century Europe, especially within the context of the Grand Tour. However, vedutes seem to have been a ...neglected genre in France, even though French landscape painting had flourished since the seventeenth century with such renowned painters as Joseph Vernet and Hubert Robert. The essay attempts to define landscape painting in Enlightenment France and analyze the reasons for the failure of the veduta.
This paper aims at discussing the role played by the art historian Antonio Morassi (Gorizia, 1893-Milan, 1976) in the Guardi forgers affair, an intriguing saga which was of interest to merchants, ...collectors, and connoisseurs of the Twentieth century art market. The main character is performed by Francesco Guardi (1712-1793), one of the most important Venetian painter of vedute, cherished by forgers since the first half of the 19th century. Thanks to a long process of identification, connoisseurs as Fiocco, Goering and Byam Shaw, and Morassi itself, tried to identify some of these forgers and imitators. The paper tries to investigate the multiples roles of Morassi and his idea of threshold between true and fake, through his expertises, letters, notebooks, auctions catalogues and photos (richly annotated with vivid comments in their back), still preserved in his private Photo Archive, now property of the Department of Philosophy and Cultural Heritage (Ca’ Foscari University of Venice).
Una gran parte de guías visuales de viaje y planos turísticos que se publican hoy en día incorporan en la representación de ciudades, itinerarios y edificios el uso de perspectivas paralelas ...(isometría, axonometrías: perspectiva caballera, militar, transoblícua) aportando en estas imágenes gran cantidad de información espacial y métrica de manera instantánea. La elección de este lenguaje gráfico responde a características formales y funcionales que se han configurado como las más adecuadas a través de siglos de evolución y cuyas soluciones convergen, entre otros campos, desde: la práctica pictórica, la representación del territorio y la ingeniería civil y militar así como de la arquitectura. En esta contribución, se analiza a través de una selección de ejemplos, la evolución histórica de los sistemas de representación vinculados al “retrato de la ciudad” y las diferentes resoluciones de las que se sirven fundamentalmente los artistas para generar en el espectador la ilusión espacial de las arquitecturas y sus elementos más característicos: murallas, torres, catedrales, puentes, edificios singulares… En este amplio recorrido donde se irán consolidando las normas que rigen los distintos sistemas representativos, las soluciones son en muchos casos híbridas, hasta su formulación como lenguajes gráficos: mientras que la perspectiva cónica queda teorizada por L. B. Alberti en 1435, la perspectiva isométrica se postula por W. Farish en 1822. Así, en las representaciones es común el uso de la proyección cónica en las corografías y panoramas de ciudades en el ámbito de los “pintores de mapas” con magníficos ejemplos en el siglo XVI, mientras que la perspectiva paralela (soldadesca o militar) se afianza en el campo de la ingeniería y la arquitectura (presente en los tratados de ingeniería desde mediados del siglo XV). Y son múltiples los ejemplos donde la presencia de determinadas licencias permite sistemas proyectivos diferentes y soluciones mixtas adecuando la representación al efecto de conjunto o al resalte de elementos significativos por encima de otros. El bagaje histórico de la perspectiva paralela se remonta a los orígenes de los sistemas de representación en su desarrollo como lenguaje gráfico. El curso de la historia ha vinculado tradicionalmente las perspectivas paralelas con representaciones de carácter técnico, dada su funcionalidad, en campos como: la arquitectura, la ingeniería civil y militar, la técnica y los oficios, aportando a la visualización inmediata la gran ventaja de la conservación proporcional de las medidas. Mientras que, para aquellas representaciones de carácter más óptico, la perspectiva del pintor, la perspectiva cónica, se ha conformado como el sistema más afín la experiencia visual del espectador e históricamente, a partir de su formulación teórica en el Renacimiento a través de L.B. Alberti, se convirtió en el lenguaje hegemónico del mundo occidental. Las denominaciones que designan la perspectivas paralelas reflejan, por contraste, la preponderancia de la representación cónica y llegan incluso a acusar cierta connotación negativa: perspectivas anómalas, pre-perspectivas, antiperspectivas, perspectiva invertida … que se unen a las denominaciones más antiguas: prospettiva soldatesca, prospettiva piu comune, prospettiva militare y que, finalmente se consolidan a lo largo del siglo XIX: perspectiva isométrica, axonometría, transoblícua, . (Siendo rechazadas incluso por los pintores en fechas recientes hasta su relectura por las Vanguardias históricas). Sin embargo, en la representación de las ciudades, la perspectiva paralela se ha consolidado como un recurso eficaz dado su carácter descriptivo junto al funcional que implica la correspondencia de medidas entre el dibujo y la realidad representada. En esta contribución, se analiza a través de una selección de ejemplos, la evolución histórica de los sistemas de representación vinculados al “retrato de la ciudad” y las diferentes resoluciones de las que se sirven los artistas para generar en el espectador la ilusión espacial de las arquitecturas y sus elementos más característicos: murallas, torres, catedrales, puentes, edificios singulares… Son tomados en consideración referentes de pintura mural de tradición helénica, ejemplos de carácter más orientalizante vinculados al arte bizantino, suponiendo un importante punto de inflexión la aparición de la escuela sienesa en Italia desde el siglo XIV como es el caso de Ambrogio Lorenzetti y su “Alegoría del buen gobierno” (1338-1340), la “Città sul il mare” de S. G. Sasetta (1420-5 ca.), la “Veduta de Venezia” de Jacopo di Barbari (1500), la transición hacia las Plataformas como la de Granada realizada por Ambrosio de Vico (1614) o el Plano de Madrid de Texeira (1654-6). Mientras que la teorización del procedimiento pasa por las obras teóricas de G. Maggi y J. Castriotto (1538), B. Lorini (1596), Jean du Breuil (1642), Abraham Bosse (1665), Vicente Tosca (1707-15) conducen finalmente a la publicación del “On Isometrical Perspective” por William Farish en 1822 que se difunde gracias a las aportaciones de T. Soptwith, J. Jopling, G. Codazza y Q. da Sella. Mientras que la axonometría es desarrollada por Weisbach, 1844 en “Die Monodimetrishe und axonometrische projectionsmethode”. La representación de la ciudad plantea un importante equilibrio entre la diferencia que supone representar para ver y representar para conocer.
The article is devoted to the etchings collected in the album Vues de Pologne, dedicated to Anna (Anetka) Tyszkiewiczówna (1779-1867). Throughout her life, she was involved in amateur artistic work: ...drawing, painting and, above all, design, which left its mark on the palace and garden layouts in Wilanów, Natolin, Mokotów, Jabłonna and Zator. The album was created as a result and as a memoir of her stay in Vienna in 1795. At that time she took drawing and etching lessons from the French painter Ignace Duvivier (1758-1832) – an artist that was later accepted as a member of the local academy. Apart from the title page, in its basic version the album contains nine views mainly of Warsaw and its surroundings. Tyszkiewiczówna was the author of all the drawing patterns, she also transferred them onto the printing plates. In these works she clearly preferred landscape motifs over vedutas. She tried to reflect the mood of the moment through a lively, energetic line and strong value contrasts. She composed sentimental, subjective landscapes with little care for accuracy or realism in the representation of reality. It is also possible that the latter feature was intensified by the recreation of patterns from her memory, in Vienna, far away from the portrayed places. Evaluating the artistic value of her works—in terms of the technique used they do not differ at all from the works of her teacher—one should remember that they are juvenile works since the author was only sixteen at that time. Her plates were reused at the beginning of the 19th century for commercial purposes – six out of nine etchings adorned the 1811 edition of “The Political, Chronological and Historical Calendar”, printed by Jan Ludwik Koch. On the basis of the considerable number of prints in collectors’ circulation—those from 1795 as well as those from 1811—it is possible to conclude that this part of her work is exceptionally popular for an amateur. But after this youthful experience, Anna née Tyszkiewicz, primo voto Potocka, secundo voto Dunin-Wąsowiczowa, never returned to the etching technique.
La Veduta di città ideale ou Panneau de Berlin (1477) se distingue du traditionnel topos figuratif Renaissant de la ville idéale, par la singularité énigmatique de son point de fuite intemporel et ...infini, ouvert à l’arrière-plan sur l’horizon marin, en contrepoint de l’impérieux quadrillage de l’espace historique et terrestre du premier plan. L’article suggère que ce basculement iconographique signifie au spectateur la nécessité d’appareiller pour l’univers symbolique et imaginaire de l’utopie.
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