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Stylistic Change & L'idea Della Bellezza in Early Modern

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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. However, artists of the early modern period did participate in the debates of their day, which in turn reveals their sensibilities. A number of treatises and writings on art have survived from Pietro Testa, Orfeo Boselli and Nicholas Poussin that demonstrate a sustained interest in theory. Within these writings we find that art-theoretical concepts such as L’Idea elucidate each artist’s conceptual process and metaphysical understanding of art. In the Seicento the dominant position taken by artists and theorists alike was the reemerging Nominalist formulation for art production, which explains the move from a carefully observed naturalism in an artist’s early career to a more abstracted later style. MODALITIES OF THE IDEA: STYLISTIC CHANGE & L’IDEA DELLA BELLEZZA IN EARLY MODERN ITALY by James Lee Hutson, Jr. Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2008 Advisory Committee: Professor Anthony Colantuono Professor Meredith Gill Professor Marjorie Venit Professor Marshall Grossman Professor Hervé Campagne © Copyright by James Lee Hutson, Jr. 2008 The dissertation that follows has had referenced materials removed in respect for the owner’s copyright. A complete version of this document, which includes said referenced material, resides in the University of Maryland, College Park’s library collection. ii Acknowledgments Through the course of writing this work, from inception to completion, the individual that offered unwavering support, and who I should like to extend my most sincere gratitude, was my advisor on the project, Professor Anthony Colantuono. In the course of my studies here at the University of Maryland, he has offered the guidance necessary to complete such an extensive piece of scholarship. The numerous seminar papers that I produced, which formed the nucleus of the work at hand, were in the mode of intellectual history, the variety of which Colantuono has published on extensively. Also, in further developing my translation abilities through the course of assisting in the editing of Orfeo Boselli’s Osservazioni della scultura antica, the tools necessary for research into primary source material were made available, and I was continually encouraged in my efforts. In formulating a topic that would encompass the diverse interests of early modern critics, theorists, artists and biographers from astrology, physiognomy, humoral theory, physiology and historiography, it was Colantuono who offered the matrix within which the multitude of topics could be addressed and presented in a logical and coherent fashion. Nevertheless, I must also express my appreciation for the support of my advisor prior to my matriculation at Maryland. In his time at Southern Methodist University in Dallas, Professor Giles Knox originally incited my interest in and passion for artist’s biographies of the early modern period. The Thesis that was produced under his guidance offered the opportunity to unveil many of the structural devices of historiography. It was also at that time that I developed an interest in the different types of stylistic change iii exhibited in various artists’ careers in the seventeenth century in Italy. This interest was the impetus behind my decision to move to the Washington, D.C. area to study with the scholar, whose works I had become increasingly familiar, and was highly recommended by Knox. Once I had begun my studies here at the University of Maryland, I met a variety of knowledgeable and helpful faculty and staff. Two would become integral to my Ph.D. work here and are now members of my dissertation committee: Professor Meredith Gill and Professor Marjorie Venit. Though Professor Gill joined the faculty in the Department of Art History and Archeology at a time when I had already begun work on the dissertation, I should like to state how indebted I am for her constant encouragement, advice and availability. She saw me through the process of studying for and passing my comprehensive examinations in May, 2005. All that make her acquaintance are struck by her pleasant demeanor and extensive knowledge in her field. I should like to repeat such evaluations and give my thanks for the countless hours that she has put into editing the document at hand and offering helpful advice. Professor Venit has as well been seminal to my development during my time here. The first semester I was taking classes, she was offering a Greek mythology course. In the class we were encouraged to translate a variety of languages for presentations. I am grateful for, yet again, the attentive nature of Professor Venit and for her consistent support of my research, and now job searches. There was hardly a time that she was unwilling or unavailable to discuss anything that was on my mind. For that I should like to express how grateful that I am. iv I should also like to thank Professor Colantuono for initially securing funding for me here in the department with a position as Undergraduate Advisor. The knowledge and experience that I have gained throughout my three years in the position will serve me well at other institutions. Additionally, the administrative guidance and academic support of Professor Renée Ater, who has been the acting Undergraduate Director until fall 2007, has been invaluable. She has offered the model for rigorous administrative organization in the department. I shall take her thoughtful and thorough approach with me. The staff in the department has also proven their commitment time and again. From the time that I was learning how to produce and give lectures in electronic format, the Director and the Coordinator of User Services in the Visual Resource Center, Dr. Laurie Sails and Dr. Quint Gregory, have been available at the smallest notice. In the courses that I have taught here at Maryland since then, there has not been an issue too big or small that was not attended to by these capable individuals. Furthermore, Ania Waller, the department’s Director of Finance, and Deborah Down, the Graduate Secretary, have consistently taken care of the administrative details of life her in the department, which would not function without their dedication. In the highly competitive atmosphere of academia, I have been fortunate in that I was joined in my studies and time here at Maryland by so many brilliant and insightful graduate students both within and outside my field. Those students that shared an interest in early modern art, theory and history, such as Sarah Cantor and Adam Rudolfi, provided countless hours of conversation that was integral to my scholarship and teaching. I should also like to thank Amelia Kahl Avdi ć, who I befriended during my early time here in the department, and who has remained an important art-historical v barometer for individuals studying twentieth-century art. What is commonly understood (or misunderstood) between the different areas of specialization in our discipline has been most clearly communicated by her, and has been invaluable in the classes I have taught. Finally, I should like to thank my family, who has emotionally supported me throughout my time in higher education. To my father, Jim Hutson, and my mother, Kathy Hutson, I should like to acknowledge my indebtedness to your guidance. Since I was a child, the importance of the arts was never in question, as my father is an art teacher. Because of that professional and educational avenue, which was provided to me, while often being closed to many individuals, I owe this to you. And to my grandmother, Mary Isaacs, a life-long educator, I should like to express my gratitude for your academic support throughout my life. It is only telling
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