Re-Reading Leonardo: The Treatise on Painting Across Europe, 1550 1900

ISBN-13: 9781138261952 / Angielski / Miękka / 2017 / 652 str.

Claire Farago

Opis

Examining the historical reception of Leonardo's Treatise on Painting in a cross-cultural framework, this collection represents the first attempt to chart the influence of the work, an important resource for the academic instruction of artists through four centuries and widely read by intellectuals and lovers of art for three centuries, when Leonardo's ideas and art were known almost exclusively through his book. The volume, dealing specifically with the reception and influence of the artist's ideas, takes Leonardo studies to a new level of historical inquiry.

Spis treści

Contents: Introduction: the historical reception of Leonardo da Vinci's abridged Treatise on Painting, Claire Farago. Section 1 The Italian Reception: What might Leonardo's own Trattato have looked like? And what did it actually look like up to the time of the editio princeps?, Martin Kemp and Juliana Barone; Leonardo and the Florentine Academy, Robert Williams; Who abridged Leonardo da Vinci's Treatise on Painting?, Claire Farago; On the movement of figures in some early apographs of the abridged Trattato, Michael Cole; Zaccolini and the Trattato della Pittura of Leonardo da Vinci, Janis C. Bell; The first Italian publication of the Treatise on Painting: book culture, the history of art, and the Naples edition of 1733, Thomas Willette. Section 2 The French Reception: The Vita of Leonardo da Vinci in the Du Fresne edition of 1651, Catherine M. Soussloff; Poussin as engineer of the human figure: the illustrations for Leonardo's Trattato, Juliana Barone; 'A chaos of intelligence': Leonardo's Traité and the perspective wars at the Académie Royale, Martin Kemp; Perspective and the Paris Academy, J.V. Field; Leonardo's theory of aerial perspective in the writings of André Félibien and the paintings of Nicolas Poussin, Pauline Maguire Robison; Between academicism and its critics: Leonardo da Vinci's Traité de la Peinture and 18th-century French art theory, Thomas Kirchner. Section 3 The Spanish Reception: The Trattato in 17th- and 18th-century Spanish perspective and art theory, Javier Navarro de Zuvillaga; Pacheco, Velázquez, and the legacy of Leonardo in Spain, Charlene Villaseñor Black. Section 4 The Dutch, German and Flemish Reception: The reception of Leonardo da Vinci's Trattato della Pittura or Traité de la Peinture in 17th-century Northern Europe, Michèle-Caroline Heck; 'This art embraces all visible things in its domain': Samuel van Hoogstraaten and the Trattato della Pittura, Thijs Weststeijn; Rubens and Leonardo on motion: figures, inscriptions, and te

O autorze

Claire Farago is Professor of Early Modern Art, Theory, and Criticism at the University of Colorado at Boulder, USA.