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This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. The “New” Giorgione: Crowe and Cavalcaselle, Pater, and Morelli Volume 1 Luke Uglow Ph. D. University of Edinburgh 2011 DECLARATION I hereby declare that this thesis was composed by myself, that the work contained herein is my own except where stated otherwise in the text, and that this work has not been submitted anywhere for any award. Luke Uglow For my Mum and Dad ACKNOWLEDGEMENTS I would like to thank my supervisor, Michael Bury, for his patience and invaluable advice. I would also like to thank my mother, Jennny Uglow, for her constant support. This thesis would not have been possible without the help of the staff of the Victoria and Albert Museum’s National Art Library, The British Library, The National Library of Scotland, and of course the University of Edinburgh Library. Finally, I would like to express my gratitude to University of Edinburgh’s Disability Office and the Arts and Humanities Research Council for funding this project. CONTENTS: Volume 1 ABSTRACT 8 LISTS OF ILLUSTRATIONS Giorgione Attributions 10 Related Images 13 INTRODUCTION TO THE “NEW” GIORGIONE 15 The “New” Giorgione 18 The “Old” Giorgione 23 Connoisseurship and Aestheticism 33 CROWE & CAVALCASELLE’S “NEW” GIORGIONE 40 The Nineteenth Century: Giorgione in France and England 42 The Nineteenth Century: Giorgione Scholarship 55 Crowe and Cavalcaselle’s New History 65 The “New” Giorgione’s Paintings 67 The Life of the “New” Giorgione 75 The “New” Giorgionesque 83 Crowe and Cavalcaselle’s Connoisseurial Method 89 Collaboration, Authority and the “New” Giorgione 106 Conclusions 115 PATER & GIORGIONE 117 “The School of Giorgione” within The Renaissance 126 The Concept of the “Renaissance” 132 The Critical Reception of Pater and The Renaissance 136 The Justification of Pater and The Renaissance 143 PART 1: Thesis: Aesthetic Criticism 147 The Idealist Science of Aestheticism 148 Pater’s Musical Law 159 The Intertextual System 168 Pater’s Music 175 PART 2: Antithesis: Scientific Criticism 184 Giorgione: The Spirit of Venetian Painting 187 Pater and the “New Vasari” 195 The Man and the Myth 201 PART 3: Synthesis: The “New” Giorgione 206 Giorgione’s “School” and the Giorgionesque 206 Pater’s Giorgione 211 The Ideality of Genre 220 The Ideality of Giorgione 224 PART 4: Conclusion: The Essential Truth 231 CONTENTS: Volume 2 MORELLI & GIORGIONE 2 Morelli’s Giorgione 5 The Unreliable Author: Ivan Lermolieff 12 Morellian Method: An Idealist Science 20 The Theory of Morellian Method 22 Scientific Connoisseurship 26 Giorgione’s Formen 37 Giorgione’s Geist 44 Giorgione: Documents 51 Morellian Rhetoric: Text as Competition 59 Morelli’s Ideal Reader 59 Lermolieff and the Reader 66 Induction as Divination and Revelation: A Portrait of a Lady 73 Morelli, Crowe and Cavalcaselle 82 Satire and the “Vorwort” 82 Crowe and Cavalcaselle and Morellian Method 87 Crowe and Cavalcaselle and Morellian Rhetoric 93 The Sleeping Venus 99 Morellian Irony: Problematisation and Giorgione 106 Art History Writing 106 The Preface as Parabasis 116 Morellian Irony as a Problematisation: The “New” Giorgione 122 CONCLUSIONS ON THE “NEW” GIORGIONE 126 BIBLIOGRAPHY Primary Sources 132 Secondary Sources 142 ILLUSTRATIONS Giorgione Attributions 161 Related Images 214 8 ABSTRACT This thesis concerns a shift in the historiography of the Venetian painter Giorgione (c1477- 1510). In important ways, this change was caused by Joseph Archer Crowe (1825-1896) and Giovanni Battista Cavalcaselle (1819-1897) in their A History of Painting in North Italy (1871). This text met seminal reactions from Walter Pater (1839-1894) in his essay “The School of Giorgione” (1877) and from Giovanni Morelli (1816-1891) in his Die Werke italienischer Meister in den Galerien von München, Dresden und Berlin (1880). Following a method of close reading, the analysis will concentrate on the intertextual relationship between these three works. This thesis contends that Crowe and Cavalcaselle comprehensively problematised scholarship on the artist, creating a “new” Giorgione; that Pater responded dialectally to scientific connoisseurship with aesthetic criticism, intellectually justifying and morally absolving his interpretation; that Morelli responded by offering a noticeably different catalogue of paintings, and by making Giorgione function within his anti-authoritarian rhetoric as a validation for his method; however, in so doing, Morelli was conducting an ironic problematisation of connoisseurship in general. The thesis begins with an introduction to the “old” Giorgione, before discussing the concepts of aestheticism and connoisseurship. It is then divided into three studies and a conclusion. The first part considers how the artist was understood in the nineteenth century prior to Crowe and Cavalcaselle’s research, before discussing the nature of the two connoisseurs’ enquiry. The second part focuses on Pater and his relationship with Giorgione, placing his essay in the context of The Renaissance (1873); after this the study follows Pater as he 9 defines his theory of aesthetic criticism and responds to what he understands as scientific history, before analysing his interpretation of Giorgione. The third and final part of this thesis will seek to understand Morelli’s ambiguous text and the function of the artist within it; examining his method, rhetoric, and polemic with Crowe and Cavalcaselle, it will conclude by arguing that irony was an active concept in Morelli’s thinking. By attending to a specific artist’s historiography at a particular time, this thesis indirectly reveals the way art history on Italian painting operated in this period, when the discipline was undergoing the processes of professionalisation and institutionalisation. 10 LISTS OF ILLUSTRATIONS Giorgione Attributions:1 Fig.A1 Concert Champêtre, Titian (Louvre, Paris) Fig.A2 Sleeping Venus, Giorgione and Titian (Gemäldegalerie, Dresden) Fig.A3 The Tempest, Giorgione (Galleria dell’Accademia, Venice) Fig.A4 The Three Philosophers, Giorgione (Kunsthistorisches Museum, Vienna) Fig.A5 Portrait of a Lady (“Laura”), Giorgione (Kunsthistorisches Museum, Vienna) Fig.A6 Standing Nude, Giorgione (Galleria dell’Accademia, Venice) Fig.A7 Christ Carrying the Cross, Giorgione (Scuola di San Rocco, Venice) Fig.A8 Saint John Chrysostom and Saints, Sebastiano del Piombo (San Giovanni Crisostomo, Venice) Fig.A9 Storm at Sea, Palma Vecchio and Paris Bordone (Galleria dell’Accademia, Venice) Fig.A10 The Castelfranco Altarpiece, Giorgione (San Liberale, Castelfranco Veneto) Fig.A11 The Dead Christ, Attributed to Giorgione (Monte di Pietà, Treviso) Fig.A12 Concert, Titian (Palazzo Pitti, Florence) Fig.A13 The Judgement of Solomon, Sebastiano del Piombo (Kingston Lacy, Dorset) Fig.A14 Archer, Venetian School (National Gallery of Scotland, Edinburgh) Fig.A15 The Adoration of the Shepherds, Giorgione (National Gallery of Art, Washington) Fig.A16 The Finding of Moses, Bonifacio Veronese (Pinactoteca di Brera, Milan) Fig.A17 La femme adultère, Venetian School (Musée Condée, Chantilly) 1 The current gallery attribution will be given 11 Fig.A18 Il Bravo, Titian (Kunsthistorisches Museum, Vienna) Fig.A19 Concert, Palma Vecchio (Private Collection) Fig.A20 Triple Portrait, Follower of Titian (Alnwick Castle, Northumberland) Fig.A21 A Man in Armour, Imitator of Giorgione (National Gallery, London) Fig.A22 Knight and Page, Forgery of Giorgione (Kunsthistorisches Museum, Vienna) Fig.A23 The Trial of Moses, Giorgione (Galleria degli Uffizi, Florence) Fig.A24 The Judgement of Solomon, Giorgione (Galleria degli Uffizi, Florence) Fig.A25 Warrior with Equerry, Venetian Painter (Galleria degli Uffizi, Florence) Fig.A26 Jacob and Rachel, Palma Vecchio (Gemäldegalerie, Dresden) Fig.A27 The Assassination of St Peter Martyr, Giovanni Bellini (National Gallery, London) Fig.A28 The Astrologer (lost, formerly Gemäldegalerie, Dresden) Fig.A29 Holy Family, Sebastiano del Piombo (Louvre, Paris) Fig.A30 Nymph and Satyr, Dosso Dossi (Palazzo Doria Pamphilj, Rome) Fig.A31 Sacred Allegory, Giovanni Bellini (Galleria degli Uffizi, Florence) Fig.A32 Knight of Malta, Titian (Galleria degli Uffizi, Florence) Fig.A33 Adoration of the Magi, Giorgione (National Gallery, London) Fig.A34 Frieze of the Liberal and Mechanical Arts, East Wall (Detail), Giorgione (Casa Pellizzari, Castelfranco) Fig.A35 Frieze of the Liberal and Mechanical Arts, West Wall (Detail), Follower of Giorgione (Casa Pellizzari, Castelfranco) Fig.A36 Head of an Emperor, Giorgione (Casa Rostirolla-Piccinini, Castelfranco) Fig.A37 Portrait of a Warrior, Giorgione (Kunsthistorisches Museum, Vienna) Fig.A38 Apollo and Daphne, Giorgione (Seminario Patriarcale, Venice) Fig.A39 Triple Portrait, Seventeenth
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