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Leonardo and Sfumato Author(S): Alexander Nagel Source: RES: Anthropology and Aesthetics, No The President and Fellows of Harvard College Peabody Museum of Archaeology and Ethnology Leonardo and sfumato Author(s): Alexander Nagel Source: RES: Anthropology and Aesthetics, No. 24 (Autumn, 1993), pp. 7-20 Published by: The President and Fellows of Harvard College acting through the Peabody Museum of Archaeology and Ethnology Stable URL: http://www.jstor.org/stable/20166875 . Accessed: 06/12/2014 22:26 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The President and Fellows of Harvard College, Peabody Museum of Archaeology and Ethnology, J. Paul Getty Trust are collaborating with JSTOR to digitize, preserve and extend access to RES: Anthropology and Aesthetics. http://www.jstor.org This content downloaded from 128.95.104.66 on Sat, 6 Dec 2014 22:26:32 PM All use subject to JSTOR Terms and Conditions Leonardo and sfumato ALEXANDERNAGEL Le cas particulier de L?onard de Vinci nous propose une de used, it almost always appears as an adjectival past ces co?ncidences remarquables qui exigent de nous un participle of the verb. Thus, Vasari describes the softer retour sur nos habitudes et comme un r?veil de d'esprit style made possible by oil painting as a "sfumata notre attention au milieu des id?es nous furent qui maniera," the humanist Daniele Barbaro speaks of transmises. contours that are "sfumati" and Leonardo himself ?Paul Val?ry^ describes dark shadows as "ombre oscure sfumate."4 As a participle, the form sfumato appears in these texts as the description of an effect: it points to an Although the word sfumato is familiar, its exact indeterminacy in the relation between the actual meaning is unclear. It seems almost appropriate when properties of objects and the visual aspects they present using the word to allow it a certain indeterminacy. to the eye. Taken literally, sfumato describes not merely the The indeterminacy that the word describes has appearance of smoke but its disappearance, its continually marked the word itself with ambiguity. imperceptible diffusion in the atmosphere. Galileo When the form sfumato passed into use as a applied the verb sfumare to the art of painting in order substantive?that is, as a "term" of art criticism?it was to describe a means of passing "without crudeness from used indiscriminately to describe both a technique of one tone to the next, by which paintings emerge soft painting and the visual qualities produced by it, both and round, with force and relief."2 Although there is no the blending of tones, or colors, in gradations of comprehensive study of the early history of the word, it imperceptible minuteness, and the effects of softness is clear that the use of it as a noun?for example, and delicacy this produces.5 This seemingly "Leonardo was the inventor of sfumato"?is of fairly unavoidable conflation between a mode of making and a use recent origin. Only in relatively modern parlance does mode of seeing has marked the of the word until one speak of a "technique of sfumato." the present day?and itwas, after all, exactly the effect Renaissance writers typically used forms of the verb the technique was designed to achieve. This essay sfumare. When Vasari, for example, tells of how investigates the practical and theoretical bases of the Giorgione, following Leonardo, applied sfumato in his technique, and explores some of its consequences. paintings, he uses the untranslatable active form of the verb: sfurno le sue When the form sfumato is pitture."3 II a This article proposes the essential argument of a larger essay, The verb sfumare has long history?Cennino which I hope in the future to present in its full form. I am grateful to Cennini already used forms of it in an artistic context in the Fondazione Lemmerman in Rome for having supported part of the research. Iwish to thank James Ackerman, John Shearman, and Henri 4. vol. for the full B?rbaro see Zerner for their support in the early stages of the project, and Joseph Ibid., 1, p. 133; passage, n. for Treatise on ed. and trans. Koerner, Robert Alva, No?, and Alexander Worth for their judgment below, 43; Leonardo, Painting, A. 2 vols. 140 as and criticism throughout. McMahon, (Princeton, 1956), (hereafter cited references to text numbers rather than to 1. Paul Val?ry, "L?onard et les Philosophes" (1929), in "McMahon"; page Introduction ? la m?thode de Leonard de Vinci (Paris, 1957), p. 131 : numbers), also quoted in E. H. Gombrich, "Blurred Images and the Unvarnished British of Aesthetics 2 171. "The particular case of Leonardo da Vinci presents us with one of Truth," Journal (1962): 5. The shift to the term's use as a substantive seems to have those remarkable coincidences that requires us to turn back upon our in neoclassical art habits of thinking and awakens our attention in the midst of the ideas occurred, fittingly enough, theory. Filippo that have been transmitted to us. Baldinucci (1681) acknowledges the form sfumato still only as an 2. ". sfumandosi dulcemente i confini, si passa senza adjective: "Sfumato, add. da sfumare, che ? unito i colon" crudezza dall'una all'altra tinta, onde la pittura riesce m?rbida, tonda, (F. Baldinucci, Vocabulario Toscano dell'arte del Disegno [Florence, con forza e con rilievo." G. Galilei, Considerazioni al Tasso, 1681], p. 151). By the end of the eighteenth century, its primary could be as a see M. comment on canto 1, st. 1, v. 8, as quoted in Dizionario della Lingua acceptation given noun; Watelet and Italiana, ed. N. Tommaseo and B. Bellini (Turin, 1872), vol. 4., s.v. M. L?vesque, Dictionnaire des Arts de Peinture, Sculpture et Gravure "sfumare." (Paris, 1792), vol. 5, p. 739: "Sfumato (adj. Italien pris Il consiste une 3. Giorgio Vasari, Le vite de' piu eccellenti pittori, scultori ed substantivement). dans maniere de peindre extr?mement une sur architetti, ed. R. Bettari (Florence, 1971), Preface to the third part, moelleuse, qui laisse certaine incertitude la vol. 4, p. 8. terminaison du contour." This content downloaded from 128.95.104.66 on Sat, 6 Dec 2014 22:26:32 PM All use subject to JSTOR Terms and Conditions 8 RES 24 AUTUMN 1993 the late fourteenth century6?but by the sixteenth bodies and their forms are displayed."11 Shadow, century it could hardly be used without reference to the therefore, was for Leonardo a necessary condition of achievements and influence of Leonardo da Vinci. visual perception, and throughout his life he submitted new Leonardo gave the word significance both through it to relentless scrutiny. The longer he studied it the his writings and by the example of his painting. From more complex his observations became. own as his time onward, Leonardo has been celebrated The increasing complexity of Leonardo's thinking on an the paragon of the intellectual artist: he provided shadow can be traced in the changing definitions he example of consummate artistic ability working in gave the word at different points in his career. Whereas an accordance with articulated philosophical and in some early texts he declares shadow simply to be one theoretical program. If there is aspect of his "absence of light" ("privatione di /uce"),12 in later painting that has been held to demonstrate this accord, definitions he is careful to distinguish between shadow, it is the so-called technique of sfumato. now characterized as "diminuzzione di luce," and Leonardo developed the technique in an attempt to darkness ("tenebre"), which is true "privazzione di perfect traditional modes of pictorial modeling. Ernst luce."u His later position is perhaps most clearly more Gombrich and, recently, David Summers have expressed in the following definition: "Shadow, in the stressed the central role played by the convention of proper sense of the word, is to be called a diminishing use modeling in the history of Western naturalism.7 The [alleviazzione] of light cast on the surfaces of bodies; of gradations of tone to produce the effect of relief is its beginning is in the ending of light and its end is in can nearly as old as Western painting itself. Sfumato be the darkness."14 In another note from the same period seen as the point of greatest refinement reached by that (1505-1510), he wrote: "The darkest dark is absolute tradition, and there is good reason to believe that absence of light, and between light and darkness there as Leonardo himself intended it such. True to his is infinite variation, because their quantity is on principle that "practice should always be built sound continuous."15 (For Leonardo, continuous quantities are theory,"8 Leonardo proposed to perfect the techniques of painting on the basis of a more sophisticated most others in the skill deserves most This understanding of the workings of nature. In other surpasses praise. accomplishment, with which the science of painting is crowned, words, he intended his techniques to reproduce the arises from light and shade, or we may say chairoscuro conditions that made the laws of nature manifest. (La prima intentione del pittore e' fare, ch'una superficie pia?a si was as Leonardo's reasoning follows: the main goal dimostri corpo rilevato e spiccato da esso piano e quello, ch'in of painting is to render the impression of three tal'arte piu eccede gli altri, quello m?rita maggior laude, e questa tale anzi corone di tale nasce da l'ombre dimensional relief.9 The impression of relief is primarily investigatione, sciencia, e lumi, o' voi dire chiaro e scuro).
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