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| Titel: | “BOZZETTO STYLE” The Renaissance Sculptor’s Handiwork * |
| Mitwirkende: | The Pennsylvania State University CiteSeerX Archives |
| Autor*in: | Irving Lavin |
| Beschreibung: | It takes most people much time and effort to become proficient at manipulating the tools of visual creation. But to execute in advance sketches, studies, plans for a work of art is not a necessary and inevitable part of the creative process. There is no evidence for such activity in the often astonishingly expert and sophisticated works of Paleolithic art, where images may be placed beside or on top of one another apparently at random, but certainly not as corrections, cancellations, or “improved ” replacements. Although I am not aware of any general study of the subject, I venture to say that periods in which preliminary experimentation and planning were practiced were relatively rare in the history of art. While skillful execution requires prior practice and expertise, the creative act itself, springing from a more or less unselfconscious cultural and professional memory, might be quite autonomous and unpremeditated. A first affirmation of this hypothesis in the modern literature of art history occurred more than a century-and-a-half ago when one of the great French founding fathers of modern art history (especially the discipline of iconography), Adolphe Napoléon Didron, made a discovery that can be described, almost literally, as monumental. In the introduction to his publication — the first Greek-Byzantine treatise on painting, which he dedicated to his friend and enthusiastic fellowmedievalist |
| URI: | https://www.amad.org/jspui/handle/123456789/59925 |
| Quelle: | http://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.309.4134 http://publications.ias.edu/sites/default/files/Lavin_BozzettoStyle_2001.pdf |
| AMAD ID: | 673427 |
| Enthalten in den Sammlungen: | BASE (Bielefeld Academic Search Engine) General history of Europe |
