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Universidade Estadual de Campinas Instituto de Filosofia e Ciências Humanas GABRIELA PAIVA DE TOLEDO IDEA DEL TEMPIO DELLA PITTURA (1590) DE GIOVANNI PAOLO LOMAZZO: ESTUDO CRÍTICO DA OBRA E TRADUÇÃO PARCIAL COMENTADA. CAMPINAS 2017 GABRIELA PAIVA DE TOLEDO IDEA DEL TEMPIO DELLA PITTURA (1590) DE GIOVANNI PAOLO LOMAZZO: ESTUDO CRÍTICO DA OBRA E TRADUÇÃO PARCIAL COMENTADA. Dissertação apresentada ao Instituto de Filosofia e Ciências Humanas da Universidade Estadual de Campinas como parte dos requisitos exigidos para a obtenção do título de Mestra em História, na área História da Arte. Supervisor/Orientador: Prof. Dr. Luiz Cesar Marques Filho ESTE EXEMPLAR CORRESPONDE À VERSÃO FINAL DA DISSERTAÇÃO DEFENDIDA [PELO PELA ALUNA GABRIELA PAIVA DE TOLEDO E ORIENTADA PELO PROF. DR. LUIZ CESAR MARQUES FILHO. CAMPINAS 2017 Agência(s) de fomento e nº(s) de processo(s): FAPESP, 2014/05800-8 Ficha catalográfica Universidade Estadual de Campinas Biblioteca do Instituto de Filosofia e Ciências Humanas Cecília Maria Jorge Nicolau - CRB 8/3387 Toledo, Gabriela Paiva de, 1989- T575i Idea del tempio della pittura (1590) de Giovanni Paolo Lomazzo : estudo crítico da obra e tradução parcial comentada / Gabriela Paiva de Toledo. – Campinas, SP : [s.n.], 2017. Orientador: Luiz Cesar Marques Filho. Dissertação (mestrado) – Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas. 1. Lomazzo, Giovanni Paolo, 1538-1592 - Idea del tempio della pittura. 2. Arte italiana. 3. Pintura italiana. 4. Renascença. 5. Arte - Discursos, ensaios e conferências. I. Marques Filho, Luiz Cesar,1952-. II. Universidade Estadual de Campinas. Instituto de Filosofia e Ciências Humanas. III. Título. Informações para Biblioteca Digital Título em outro idioma: Idea del tempio della pittura (1590) by Giovanni Paolo Lomazzo: critical study and partial commented translation Palavras-chave em inglês: Italian art Painting, italian Renaissance Art - Discourses, essays and conferences Área de concentração: História da Arte Titulação: Mestra em História Banca examinadora: Luiz Cesar Marques Filho [Orientador] Patricia Dalcanale Meneses Alexandre Ragazzi Data de defesa: 31-03-2017 Programa de Pós-Graduação: História Powered b y UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE FILOSOFIA E CIÊNCIAS HUMANAS A Comissão Julgadora dos trabalhos de Defesa de Dissertação de Mestrado, composta pelos Professores Doutores a seguir descritos, em sessão pública realizada em 31/03/2017, considerou a candidata Gabriela Paiva de Toledo aprovada. Prof Dr Luiz Cesar Marques Filho Profa Dra Patricia Dalcanale Meneses Prof Dr Alexandre Ragazzi A Ata de Defesa, assinada pelos membros da Comissão Examinadora, consta no processo de vida acadêmica da aluna. Agradecimentos Desenvolver uma pesquisa historiográfica é uma tarefa bastante solitária. Porém, isto não significa o não envolvimento das pessoas do nosso entorno. É preciso muita compreensão da família e dos amigos diante da constante ausência ou da presença passageira, sempre com um prazo impondo a partida. Agradeço a todos por isso. No entanto, devo o maior dos agradecimentos aos meus pais, Sandra e Vagner, pois, para além desta compreensão, a participação de ambos foi de fato imprescindível. Quando sofri três fraturas no cotovelo em um acidente e fui encaminhada para uma cirurgia emergencial, duas semanas antes do início do meu período de pesquisa em Florença - eu estava com tudo preparado e com uma bolsa de pesquisa outorgada pela FAPESP - , meus pais interromperam tudo para me ajudar na recuperaração e na organização do que faltava para a viagem. Minha mãe deixou o trabalho para me acompanhar nos três primeiros meses de estadia na Itália. Eu realmente não tenho meios para agradecê-la o suficiente. Obrigada a ambos pelo suporte em todos os sentidos; por não questionarem o fato de eu não deixar a biblioteca do Kunst 1 para nada, inclusive aos domingos; pela paciente companhia em todo e qualquer museu, igreja, galeria e exposição; pelos apuros com relatórios e documentação; pelas idas e vindas de bibliotecas quando eu não podia dirigir; pela constante preocupação, carinho, amor e apoio ao longo desses três anos; por lerem textos, ouvirem as minhas dúvidas existenciais e meus impasses com o meu objeto de pesquisa. Não sei o que faria sem os dois. Gostaria de agradecer ao meu orientador, o prof. Dr. Luiz Marques, quem me conduziu pela História da Arte desde quando aluna de graduação. O professor Luiz Marques é um intelectual sem igual, de quem eu tive o privilégio de ser aluna e orientanda. Agradeço- lhe imensamente pelo constante encorajamento. Há alguns anos, quando conversávamos sobre um possível tema para o projeto de mestrado, o prof. Luiz me sugeriu este tratado do Lomazzo, afirmando que: "Se você sobreviver ao Lomazzo, você sobrevive a qualquer coisa!". Pois bem, sobrevivi, mas não sem sua orientação. Agradeço à prof a.Dr. a Patricia Dalcanale Meneses e ao prof. Dr. Alexandre Ragazzi pela inestimável participação no exame de qualificação e na banca de defesa. À prof a. Isabella Tardin Cardoso (IEL - UNICAMP) por ter generosamente se disposto a corrigir a tradução dos epigramas do latim para o português. Às minhas irmãs, Rafaele e 1 Kunsthistorisches Institut in Florenz. Ana, pelo apoio, amor e encorajamento. Aos colegas da pós, Felipe, Gabriela, Francisco, Antonio, Letícia, Juliana, Inácio, Larissa, Paula, Mateus, Ian e os demais. Foram muitas trocas, dicas, conversas, artigos recomendados, cafés, congressos. Em especial ao Ian, quem me incentivou a entrar no processo para a bolsa de estudos em Florença e quem, sempre que eu me encontrava em completo desespero acadêmico, me apoiava dizendo que sentia o mesmo, e que, portanto, tudo estava bem. E pelas conversas mesmo que à distância. À Larissa, minha querida companhia em todo o período em que estive em Florença. Ao professor Dr. Alessandro Nova - por ter me aceito em seu departamento, pelas reuniões de orientação e por sua imensa gentileza - e ao Kunsthistorisches Institut de Florença - Mandy Richter, Christine Kloeckner e Fabian Jonietz - sou profundamente grata. Fui muito bem acolhida por todos. Também devo agradecer aos bibliotecários da Biblioteca Ambrosiana (Milão) por terem sido tão solícitos e me permitirem examinar todos os desenhos relacionados ao Lomazzo e seu círculo. Também sou grata à Società Storica Lombarda, à Biblioteca Braidense, à Villa i Tatti e à Mediateca Fondazione Scuole Civiche de Milão. Agradeço imensamente à Fundação de Amparo à pesquisa do Estado de São Paulo (FAPESP) por financiar integralmente esta pesquisa e pela bolsa concedida (BEPE) para o meu período de pesquisa em Florença e em Milão. Eu não poderia ter realizado este trabalho sem este suporte financeiro. RESUMO O tratado teórico de Giovanni Paolo Lomazzo, Ideia do templo da pintura, publicado em Milão em 1590, constitui um valioso meio para a compreensão do contexto artístico italiano da segunda metade do século XVI. Nele convergem insignes correntes do pensamento do período e discussões no campo das artes figurativas de extrema relevância para todo o Cinquecento, resultando em uma proposta teorética singular e pioneira, na qual se verificam formulações que de certo modo se manifestam na estética, na teoria, na historiografia e na crítica artística dos séculos posteriores. Através desta obra e de uma breve análise da história de sua recepção e da trajetória de seu autor, é possível observar as tensões sociais e culturais que envolviam os artistas e sua atividade. Em vista disso, a produção de uma tradução comentada (ainda que parcial) deste tratado, acompanhada de um estudo crítico da obra - contexto de produção, recepção, Fortuna Crítica -, é pertinente para o campo da História da Arte em âmbito nacional. Palavras Chave: Arte Italiana; Giovanni Paolo Lomazzo; Idea del tempio della pittura; Pintura; Renascimento; Teoria da Arte. ABSTRACT Giovanni Paolo Lomazzo's theoretical treatise, Idea of the temple of painting, published in Milan in 1590, is a valuable medium for understanding the Italian artistic context in the second half of the sixteenth century. In this work, one can find important currents of thought of the period along with discussions in the field of figurative arts of extreme relevance for the whole Cinquecento, resulting in a unique and pioneering theoretical proposal, in which one can detect formulations that, to a certain extent, are manifested in later periods' aesthetics, art theory, historiography and art criticism. Through this work and a brief analysis of its reception's history and its author's life trajectory, it is possible to observe the social and cultural tensions that involved artists and their activity. Therefore, the production of a commented translation (even if partial) of this treatise along with a critical study of the work - the context of production, its reception, its Fortuna Critica - are pertinent to the field of Art History in national frame. Keywords: Art Theory; Giovanni Paolo Lomazzo; Idea del tempio della pittura; Italian art; Painting; Renaissance. LISTA DE ILUSTRAÇÕES Figura 1 - Autorretrato como abade da Academia do Vale Blênio , c.1568. Óleo sobre tela, 56 x 44 cm. Pinacoteca di Brera , Milão (Fonte: http://www.wga.hu/) ................................... 26 Figura 2 - Albretch Dürer. Melancolia I , 1514, gravura, 239 x 189 mm, Kupferstichkabinett, Staatliche Kunsthalle, Karlsruhe (Fonte: http://www.wga.hu/) ............................................... 31 Figura 3 - Giogione (atr.). Pastore con Flauto , séc. XVI, óleo sobre tela, 61,2 X 46,5
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  • Gallucci's Commentary on Dürer's 'Four Books on Human Proportion'

    Gallucci's Commentary on Dürer's 'Four Books on Human Proportion'

    J Gallucci’s Commentary on Dürer’s AMES Gallucci’s Renaissance ‘Four Books on Human Proportion’ H Commentary Proportion Renaissance Proportion Theory UTSON on Dürer’s Theory JAMES HUTSON ‘Four Books In 1591, Giovanni Paolo Gallucci published his Della simmetria dei corpi humani, on Human an Italian transla� on of Albrecht Dürer’s Four Books on Human Proporti on. While AMES UTSON Dürer’s trea� se had been translated earlier in the sixteenth-century into French G Proportion’ J H and La� n, it was Gallucci’s Italian transla� on that endured in popularity as the most ALLUCCI cited version of the text in later Baroque trea� ses, covering topics that were seen as central to arts educa� on, connoisseurship, patronage, and the wider apprecia� on ’ of the studia humanitati s in general. S C The text centres on the rela� onships between beauty and propor� on, macrocosm OMMENTARY and microcosm: rela� onships that were not only essen� al to the visual arts in the early modern era, but that cut across a range of disciplines – music, physiognomics and humoral readings, astronomy, astrology and cosmology, theology and philosophy, even mnemonics and poetry. In his version of the text, Gallucci expanded the educa� onal poten� al of the trea� se by adding a Preface, a Life ON of Dürer, and a Fi� h Book providing a philosophical framework within which to D interpret Dürer’s previous sec� ons. ÜRER ’ S This transla� on is the fi rst to make these original contribu� ons by Gallucci ‘F accessible to an English-speaking audience.
  • Stylistic Change & L'idea Della Bellezza in Early Modern

    Stylistic Change & L'idea Della Bellezza in Early Modern

    ABSTRACT Title of Dissertation: MODALITIES OF THE IDEA: STYLISTIC CHANGE & L’IDEA DELLA BELLEZZA IN EARLY MODERN ITALY James Lee Hutson, Jr., Doctor of Philosophy, 2008 Dissertation Directed by: Professor Anthony Colantuono Department of Art History and Archeology In the careers of many prominent seventeenth-century painters such as Annibale Carracci, Guercino, Domenichino and even Caravaggio there is a familiar stylistic progression: each began their careers with a chiaroscuro manner rooted in Venetian and Emilian naturalism and then later shift to a markedly classicizing manner characterized by a brightening or lightening of the palette, a tendency to idealize the human form, and an insistence on composing in a series of parallel planes. The art-theoretical concept known as L’Idea della bellezza was the touchstone in cases where this stylistic phenomenon manifested itself. Developed and modified in antiquity to maintain its relevance to art theory, the Platonic Idea went through many variations and interpretative models until it was reintroduced to art theory in the Renaissance. At the same time, expectations of artists increased as the arti di disegno sought to be included among the liberal arts. Artists’ primary and secondary phases of education ensured a reading knowledge of Latin and equipped them with the ability to engage with the theoretical material of their day. This intellectual interest was reinforced by the foundations of the Florentine Accademia del Disegno, and later the Bolognese Accademia degl’Incamminati. As the number of publications by artists seemingly dwindled in the period following Mannerism, it was assumed that artists were increasingly disinterested with the complex theoretical discourse taken up by a growing number of critics and theorists.