ABSTRACT This paper focuses on the overlooked art-theoretical category of precetti, verbal or wri... more ABSTRACT This paper focuses on the overlooked art-theoretical category of precetti, verbal or written instructions by a master to students of painting. More specifically, it analyses their epistemic structure and their complex position between theory and practice, by tracing at the same time their evolution from Leonardo’s Libro di pittura to Giovanni Battista Armenini, Federico Zuccari and Filippo Baldinucci.
Precetti combine the theory and practice of painting in a complex way, laying open the artist’s decisions for the trained eye, even long after the work of art has been created. Il presente lavoro si concentra sulla categoria teorico-artistica, oggi poco o nulla analizzata, dei precetti, da intendersi come istruzioni verbali o scritte da parte di un maestro nei confronti degli studenti di pittura. Più nello specifico, il saggio analizza la struttura epistemica e la complessa posizione di tali istruzioni fra teoria e pratica, tracciandone al contempo lo sviluppo a partire dal Libro di pittura di Leonardo sino a Giovan Battista Armenini, Federico Zuccari e Filippo Baldinucci. I precetti combinano in modo complesso teoria e pratica della pittura, mettendo le decisioni dell’artista a disposizione dell’occhio esperto, anche in un tempo di molto successivo alla vera e propria creazione dell’opera d’arte.
When studying the controversy prevailing between Galileo and the Jesuits over the comets of 1618,... more When studying the controversy prevailing between Galileo and the Jesuits over the comets of 1618, historians tend to focus primarily on the works that led to the publication of Il Saggiatore in 1623. This article demonstrates that the echoes of this controversy reverberated inside the walls of the Collegio Romano well beyond the publication of Galileo's chef-d'oeuvre. Its philosophy and mathematics professors strove to maintain-in opposition to Galileo-the Aristotelian principle that the heavens were ontologically superior to the terrestrial region throughout decades. Even after adhering to the planetary system of Tycho Brahe and the concept of celestial fluidity, they persisted in arguing that no corruption ever took place in the celestial region. Hence, accepting Tycho's astronomical theories meant the seventeenth-century Collegio Romano professors had to reject the Ptolemaic astronomical framework even if not necessarily denying the very core of the Aristotelian cosmology. Thus, Collegio Romano remained the champion of philosophical orthodoxy within the Jesuit educational network.
This article compares the techniques of observation and experimentation (“esperienze”) practiced ... more This article compares the techniques of observation and experimentation (“esperienze”) practiced by members of the Accademia del Cimento with the “pure imitation of truth” pursued by Florentine painter Lorenzo Lippi (1606–1665). Lippi’s art reveals striking parallels between developments in the fine arts and the sciences in seventeenth-century Florence, particularly in their moral commitment towards the truthful representation of nature and a matter-of-fact style of representation. Despite these parallels, it is interesting to note that in his mock-epic Il Malmantile Racquistato, Lippi parodied the truth claims made by science as well as its modes of knowledge creation.
Elena Fumagalli, Massimiliano Rossi, Eva Struhal (eds.), Per Filippo Baldinucci. Storiografia e collezionismo a Firenze nel secondo Seicento, Florence: Mandragora, 2020
ABSTRACT This paper focuses on the overlooked art-theoretical category of precetti, verbal or wri... more ABSTRACT This paper focuses on the overlooked art-theoretical category of precetti, verbal or written instructions by a master to students of painting. More specifically, it analyses their epistemic structure and their complex position between theory and practice, by tracing at the same time their evolution from Leonardo’s Libro di pittura to Giovanni Battista Armenini, Federico Zuccari and Filippo Baldinucci.
Precetti combine the theory and practice of painting in a complex way, laying open the artist’s decisions for the trained eye, even long after the work of art has been created. Il presente lavoro si concentra sulla categoria teorico-artistica, oggi poco o nulla analizzata, dei precetti, da intendersi come istruzioni verbali o scritte da parte di un maestro nei confronti degli studenti di pittura. Più nello specifico, il saggio analizza la struttura epistemica e la complessa posizione di tali istruzioni fra teoria e pratica, tracciandone al contempo lo sviluppo a partire dal Libro di pittura di Leonardo sino a Giovan Battista Armenini, Federico Zuccari e Filippo Baldinucci. I precetti combinano in modo complesso teoria e pratica della pittura, mettendo le decisioni dell’artista a disposizione dell’occhio esperto, anche in un tempo di molto successivo alla vera e propria creazione dell’opera d’arte.
When studying the controversy prevailing between Galileo and the Jesuits over the comets of 1618,... more When studying the controversy prevailing between Galileo and the Jesuits over the comets of 1618, historians tend to focus primarily on the works that led to the publication of Il Saggiatore in 1623. This article demonstrates that the echoes of this controversy reverberated inside the walls of the Collegio Romano well beyond the publication of Galileo's chef-d'oeuvre. Its philosophy and mathematics professors strove to maintain-in opposition to Galileo-the Aristotelian principle that the heavens were ontologically superior to the terrestrial region throughout decades. Even after adhering to the planetary system of Tycho Brahe and the concept of celestial fluidity, they persisted in arguing that no corruption ever took place in the celestial region. Hence, accepting Tycho's astronomical theories meant the seventeenth-century Collegio Romano professors had to reject the Ptolemaic astronomical framework even if not necessarily denying the very core of the Aristotelian cosmology. Thus, Collegio Romano remained the champion of philosophical orthodoxy within the Jesuit educational network.
This article compares the techniques of observation and experimentation (“esperienze”) practiced ... more This article compares the techniques of observation and experimentation (“esperienze”) practiced by members of the Accademia del Cimento with the “pure imitation of truth” pursued by Florentine painter Lorenzo Lippi (1606–1665). Lippi’s art reveals striking parallels between developments in the fine arts and the sciences in seventeenth-century Florence, particularly in their moral commitment towards the truthful representation of nature and a matter-of-fact style of representation. Despite these parallels, it is interesting to note that in his mock-epic Il Malmantile Racquistato, Lippi parodied the truth claims made by science as well as its modes of knowledge creation.
Elena Fumagalli, Massimiliano Rossi, Eva Struhal (eds.), Per Filippo Baldinucci. Storiografia e collezionismo a Firenze nel secondo Seicento, Florence: Mandragora, 2020
Drawing on recent research by established and emerging scholars of sixteenth- and seventeenth-cen... more Drawing on recent research by established and emerging scholars of sixteenth- and seventeenth-century art, this volume reconsiders the art and architecture produced after 1563 across the conventional geographic borders. Rather than considering this period a degraded afterword to Renaissance classicism or an inchoate proto-Baroque, the book seeks to understand the art on its own terms. By considering artists such as Federico Barocci and Stefano Maderno in Italy, Hendrick Goltzius in the Netherlands, Antoine Caron in France, Francisco Ribalta in Spain, and Bartolomeo Bitti in Peru, the contributors highlight lesser known "reforms" of art from outside the conventional centers. As the first text to cover this formative period from an international perspective, this volume casts new light on the aftermath of the Renaissance and the beginnings of "Baroque."
Introduction: Rethinking Art after the Council of Trent (Jesse M. Locker)
Chapter 1
On the ‘Reform’ of Painting: Annibale Carracci and Caravaggio (Clare Robertson)
Chapter 2
Sculpture, Rupture, and the ‘Baroque’ (Estelle Lingo)
Chapter 3
Spanish Artists in the Forefront of the Tridentine Reform (Marcus Burke)
Chapter 4
Judgment, Resurrection, Conversion: Art in France During the Wars of Religion (Iara A. Dundas)
Chapter 5
Reform after Trent in Florence (Marcia Hall)
Chapter 6
Quella inerudita semplicità lombarda: The Lombard Origins of Baroque and Counter-Reformation Affectivity (Anne Muraoka)
Chapter 7
The Allure of the Object in Post-Tridentine Spanish Painting (Carmen Ripollés)
Chapter 8
Federico Barocci, History, and the Body of Art (Stuart Lingo)
Chapter 9
Neither for Trent nor Against: Faith and Works in Hendrick Goltzius’s Allegories of the Christian Creed (Walter Melion)
Chapter 10
Francisco Ribalta’s Last Supper as a Symbol of Reform in Early Modern Valencia (Lisandra Estevez)
Chapter 11
Water in Counter-Reformation Rome (Katherine Rinne)
Chapter 12
A Missionary Order without Saints: The Extraordinary Case of the Iconography of Unbeatified Jesuits in Italy and South America, 1560-1622 (Gauvin Alexander Bailey)
Chapter 13
Bernardo Bitti: An Italian Reform Painter in Peru (Christa Irwin)
Chapter 14
Painting as Relic: Giambattista Marino’s Dicerie Sacre and the Shroud of Turin (Andrew Casper)
Chapter 15
Resisting the Baroque in mid-Seventeenth-Century Florence (Eva Struhal)
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Precetti combine the theory and practice of painting in a complex way, laying open the artist’s decisions for the trained eye, even long after the work of art has been created. Il presente lavoro si concentra sulla categoria teorico-artistica, oggi poco o nulla analizzata, dei precetti, da intendersi come istruzioni verbali o scritte da parte di un maestro nei confronti degli studenti di pittura. Più nello specifico, il saggio analizza la struttura epistemica e la complessa posizione di tali istruzioni fra teoria e pratica, tracciandone al contempo lo sviluppo a partire dal Libro di pittura di Leonardo sino a Giovan Battista Armenini, Federico Zuccari e Filippo Baldinucci. I precetti combinano in modo complesso teoria e pratica della pittura, mettendo le decisioni dell’artista a disposizione dell’occhio esperto, anche in un tempo di molto successivo alla vera e propria creazione dell’opera d’arte.
Precetti combine the theory and practice of painting in a complex way, laying open the artist’s decisions for the trained eye, even long after the work of art has been created. Il presente lavoro si concentra sulla categoria teorico-artistica, oggi poco o nulla analizzata, dei precetti, da intendersi come istruzioni verbali o scritte da parte di un maestro nei confronti degli studenti di pittura. Più nello specifico, il saggio analizza la struttura epistemica e la complessa posizione di tali istruzioni fra teoria e pratica, tracciandone al contempo lo sviluppo a partire dal Libro di pittura di Leonardo sino a Giovan Battista Armenini, Federico Zuccari e Filippo Baldinucci. I precetti combinano in modo complesso teoria e pratica della pittura, mettendo le decisioni dell’artista a disposizione dell’occhio esperto, anche in un tempo di molto successivo alla vera e propria creazione dell’opera d’arte.
Introduction: Rethinking Art after the Council of Trent (Jesse M. Locker)
Chapter 1
On the ‘Reform’ of Painting: Annibale Carracci and Caravaggio (Clare Robertson)
Chapter 2
Sculpture, Rupture, and the ‘Baroque’ (Estelle Lingo)
Chapter 3
Spanish Artists in the Forefront of the Tridentine Reform (Marcus Burke)
Chapter 4
Judgment, Resurrection, Conversion: Art in France During the Wars of Religion (Iara A. Dundas)
Chapter 5
Reform after Trent in Florence (Marcia Hall)
Chapter 6
Quella inerudita semplicità lombarda: The Lombard Origins of Baroque and Counter-Reformation Affectivity (Anne Muraoka)
Chapter 7
The Allure of the Object in Post-Tridentine Spanish Painting (Carmen Ripollés)
Chapter 8
Federico Barocci, History, and the Body of Art (Stuart Lingo)
Chapter 9
Neither for Trent nor Against: Faith and Works in Hendrick Goltzius’s Allegories of the Christian Creed (Walter Melion)
Chapter 10
Francisco Ribalta’s Last Supper as a Symbol of Reform in Early Modern Valencia (Lisandra Estevez)
Chapter 11
Water in Counter-Reformation Rome (Katherine Rinne)
Chapter 12
A Missionary Order without Saints: The Extraordinary Case of the Iconography of Unbeatified Jesuits in Italy and South America, 1560-1622 (Gauvin Alexander Bailey)
Chapter 13
Bernardo Bitti: An Italian Reform Painter in Peru (Christa Irwin)
Chapter 14
Painting as Relic: Giambattista Marino’s Dicerie Sacre and the Shroud of Turin (Andrew Casper)
Chapter 15
Resisting the Baroque in mid-Seventeenth-Century Florence (Eva Struhal)