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- W566469904 abstract "This study examines the way in which the information given by Pliny the Elder in his Natural History concerning classical painting were perceived and exploited in Renaissance Italy, from Petrarch (c. 1350) until the second edition of Vasari’s Lives (1568). It shows that references to Pliny that are discernible in various texts and works of art are means for us to understand some of the artistic, theoretical, and social issues inherent in pictorial practice at the time. Many different types of sources have been exploited in carrying out this research. In the first instance, information concerning the editorial transmission of the Natural History has been examined. Reception of Book XXXV, dedicated to classical painting, has been given special attention, particularly through the analysis of Renaissance copies of Pliny’s so-called Encyclopaedia, and the annotations, translations, derivations and commentaries to which this work gave rise at the time. Recourse to Pliny in artistic literature and in pictorial practice is then examined. Finally, the emulation of Apelles in artistic practise is considered through a study of the signature in the imperfect. This is, in fact, a way of signing paintings that Pliny attributes to the Greek painter and which artists in the Renaissance would adopt from the end of the fifteenth century. In addition to the substantial consideration given to Petrarch, Alberti, Ghiberti, Castiglione, Pino, Dolce and Vasari, this study also analyses references to Pliny in many other artists and humanists, such as Boccaccio, Guglielmo da Pastrengo, Villani, Guarino, Leonardo Giustiniani, Decembrio, Fazio, Landino, Perotti, Santi, Leonardo, Jacopo de’ Barbari, Bellini, Costa, Macrino d’Alba, Palmezzano, Raphael, Titian, Sebastiano del Piombo, Andrea del Sarto, Giovio, Damiano Zambelli, Aretino, Varchi, Giovio, l’Anonimo Magliabechiano and Giovanni Battista Adriani. Thus, via a series of individual and comparative readings that draw out the many links between art and humanism, this study highlights the various different forms that borrowings from Pliny could take, and the functions they had, as well as emphasising the main themes for which those borrowings were exploited, such as commentary on the cultural and social development of painting, and reflection on genres and pictorial styles (portrait, landscape, female nude, the debate about disegno and colorito, and the paragone of the arts)." @default.
- W566469904 created "2016-06-24" @default.
- W566469904 creator A5037503560 @default.
- W566469904 date "2012-06-05" @default.
- W566469904 modified "2023-09-27" @default.
- W566469904 title "Lectures, réécritures et peintures à partir de Pline l’Ancien. La réception de l’Histoire naturelle en Italie, de Pétrarque à Vasari" @default.
- W566469904 hasPublicationYear "2012" @default.
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