Abstract
The established view of sixteenth-century art criticism supposes that a major conflict lies between Venetian colore and the Florentine tradition of disegno.1 Lately, this view has been questioned on two counts: first, that the opposition is really a seventeenth-century construct, and second, that the Renaissance issues revolve around natural and artificial varietà.2 Apparently even more fundamental issues are involved. This essay addresses epistemological conflicts concerning the proper classification of painting, sculpture, and architecture implicit in Renaissance art criticism. The underlying problem can be stated in the following way: how does one select criteria to judge the excellence of artistic productions if the excellence of each individual art depends on the discipline which establishes principles for its subordinates?
This is a preview of subscription content, log in via an institution.
Buying options
Tax calculation will be finalised at checkout
Purchases are for personal use only
Learn about institutional subscriptionsPreview
Unable to display preview. Download preview PDF.
Notes
The conventional assessments result from the contributions of Julius von Schlosser, La letteratura artistica (1924), 3rd ed.
La littérature artistique, tr. J. Chary and M. Le Cannu (Paris, 1984)
Rensselaer Lee, Ut pictura poesis: The Humanist Theory of Painting (New York, 1967 [1940])
Anthony Blunt, Artistic Theory in Italy, 1450-1600 (Oxford, 1940).
Mark W. Roskill, Introduction, Dolce’s “Aretino” and Venetian Art Theory of the Cinquecento (New York, 1968);
Robert Klein, “Judgment and Taste in Cinquecento Art Theory,”in Form and Meaning: Essays on the Renaissance and Modern Art, tr. Madeline Jay and Leon Wiestier (New York, 1970), 161-169;
Maurice G. Poirier, “Studies in the Concept of ’Disegno,’ Tnvenzione’ and ’Colore’ in Sixteenth and Seventeenth-Century Italian Art and Theory” (Ph.D. diss., New York University, 1976);
Franco Bernabei, “Tiziano e Ludovico Dolce,”in Tiziano e il Manierismo Europeo, ed. Rodolfo Pallucchini (Florence, 1978), 307-337;
David Summers, Michelangelo and the Language of Art (Princeton, 1981).
Paul O. Kristeller, “The Modern System of the Arts: A Study in the History of Aesthetics,”Journal of the History of Ideas, 12 (1951), 496-527; 13 (1952), 17-46;
George Ovitt, Jr., The Restoration of Perfection: Labor and Technology in Medieval Culture (New Brunswick, 1987)
Paolo Rossi, Philosophy, Technology, and the Arts in the Early Modern Era. S. Attanasio, ed. B. Nelson (New York, 1970 [1962]);
Sergio Rossi, Dalle botteghe alle accademie: Realtà sociale e teorie artistiche a Firenze dal XIV al XVI secolo (Milan, 1980)
Leatrice Mendelsohn, Paragoni: Benedetto Varchi’s Due Lezzioni and Cinquecento Art Theory (Ann Arbor, 1982)
Moshe Barasch, Theories of Art from Plato to Winckelmann (New York, 1985)
Richard Wendorf (ed.), Articulate Images: The Sister Arts from Hogarth to Tennyson (Minneapolis, 1983);
W. J. T. Mitchell, Iconology: Image, Text, Ideology(Chicgo, 1986)
Neal Gilbert, Renaissance Concepts of Method (New York, 1960).
Michael Ann Holly, Panofsky and the Foundations of Art History (Ithaca, 1984);
Keith Moxey, “Panofsky’s Concept of ’Iconology’ and the Problem of Interpretation in the History of Art,”New Literary History, 17 (1985-86), 265-274;
Donald Preziosi, Rethinking Art History: Meditations on a Coy Science (New Haven, 1989).
C. A. Du Fresnoy, De arte graphica (Paris, 1668)
David E. Wellbery, Lessing’s Laocoon, Semiotics and Aesthetics in the Age of Reason (Cambridge, 1984)
8b and later, Roy Park, “Ut Pictura Poesis: The Nineteenth Century Aftermath,”Journal of Aesthetics and Art Criticism, 28 (1969), 155-169.
Jean H. Hagstrum, The Sister Arts: The Tradition of Literary Pictorialism and English Poetry from Dryden to Gray (Chicago, 1958), has contributed significantly to this focus in the scholarship.
Norman Bryson, Vision in Painting: The Logic of the Gaze (New Haven, 1983);
Rosalind Krauss, “The Story of the Eye,”New Literary History, 21 (1990), 283-298;
David Summers, “The ’Visual Arts’ and the Problem of Art Historial Description,”Art Journal, 42 (1982), 301-320
Casey Haskins, “Kant and the Autonomy of Art,”Journal of Aesthetics and Art Criticism, 47 (1989), 43-54.
Erwin Panofsky, Renaissance and Renascences in Western Art [1960] (New York, 1972), 1–41.
Charles Perrault, Parallèle des Anciens et des Modernes (Paris, 1688-96)
Martin J. Kemp, ’A Chaos of Intelligence’: Leonardo’s Traité and the Perspective Wars in the Académie Royale,”in ”Il se rendit en Italie,”Etudes offertes à André Chastel (Rome, 1987), 415-427.
Charles Dempsey, Annibale Carracci and the Beginnings of Baroque Style (Glückstadt, 1977).
Pamela Jones, “Federico Borromeo as a Patron of Landscapes and Still Lifes: Christian Optimism in Italy ca. 1600,”The Art Bulletin, 70 (1988), 261-272
Janis Bell, “Cassiano dal Pozzo’s Copy of the Zaccolini Manuscripts,”Journal of the Warburg and Courtauld Institutes, 51 (1988), 103-125
David Summers, The Judgment of Sense: Renaissance Naturalism and the Rise of Aesthetics (Cambridge, 1987).
Leonardo da Vinci, Trattato della Pittura di Lionardo de Vinci tratto da un Codice della Biblioteca Vaticana..., ed. G. Manzi (Rome, 1817).
C. Pedretti, Leonardo da Vinci. On Painting. A Lost Book (Libro A). Reassembled from the Codex Vaticanus Urbinas 1270 and from the Codex Leicester (Berkeley, 1964), 121-128.
Carlo Pedretti, The Literary Works of Leonardo da Vinci: Compiled and Edited from the Original Manuscripts by Jean Paul Richter Commentary (Berkeley, 1977)
Trattati d’arte del cinquecento fra manierismo e controriforma, ed. P. Barocchi (Bari, 1960), I, 3–58
Le vite de’ piú eccellenti pittori, scultori, ed architettori, ed. G. Milanesi (Florence, 1906), I, 91-106.
Bernard Weiberg, A History of Literary Criticism in the Italian Renaissance (Chicago, 1961).
Baldassare Castiglione, II libro del Cortegiano (Venice, 1528)
On the visual tradition, see Peter Hecht, “The Paragone Debate: Ten Illustrations and a comment,”Semiolus, 14 (1984), 125-136
Luba Freedman, “The Schiavona’; Titian’s Response to the Paragone Between Painting and Sculpture,”Arte Veneta, 41 (1987), 31-40
James Holderbaum, “A Bronze by Giovanni da Bologna and a Painting by Bronzino,”Burlington Magazine, 98 (1956), 439-445
John Shearman, Mannerism (Baltimore, 1967)
David Summers, “Maniera and Movement: The Figura Serpentinata,”Art Quarterly, 35 (1972), 269-301
François Quiviger, “Benedetto Varchi and the Visual Arts,”Journal of the Warburg and Courtauld Institutes, 50 (1987), 219-224.
Karl Frey, Carteggio di Giorgio Vasari (Munich, 1923), 191
Mary Pardo, “Paolo Pino’s ’Dialogo di Pittura’: A Translation with Commentary” Ph.D. diss., University of Pittsburgh, 1984)
R. Borghini, Il Riposo, in cui della pittura e della scultura si favella... (Florence, 1584), 25ff.
Walter J. Ong, Ramus, Method, and the Decay of Logic (Cambridge, Mass., 1958)
Cesare Vasoli, La dialettica e la retorica dell’Umanesimo: Tnvenzione’ e ’Metodo’ nella cultura del XV e XVI secolo (Milan, 1968)
A. C. Crombie, Medieval and Early Modern Science (Cambridge, Mass., 1967).
Remigio Sabbadini, Il metodo degli umanisti (Florence, 1920)
Luigi Oliveri, Certezza e gerarchia del sapere: crisi dell’idea di scientificita nell’Aristotelismo del secolo XVI (Padua, 1983)
William F. Edwards, “Niccolò Leoniceno and the Origins of Humanist Discussions of Method,”in Philosophy and Humanism: Renaissance Essays in Honor of P. O. Kristeller, ed. Edward P. Mahoney (New York, 1976), 283-305
Karl Müllner, Reden und Briefe Italienischer Humanisten (1899),
J. A. Weisheipl, “Classification of the Sciences in Medieval Thought,”Medieval Studies, 26 (1964), 54-90;
S. D. Wingate, The Medieval Latin Versions of the Aristotelian Scientific Corpus with Special Reference to the Biological Works (London, 1931).
Jerrold Seigel, Rhetoric and Philosophy in Renaissance Humanism. The Union of Eloquence and Wisdom from Petrarch to Valla (Princeton, 1968)
Eugenio Garin, La Disputa delle Arti nel Quattrocento (Florence, 1947)
Robert Kelin, “Pomponius Gauricus on Perspective,”The Art Bulletin, 43 (1961), 211-230.
D. Barbaro (ed.), I Died Libri dell’Architettura di M. Vitruvio (Venice 1567), 2–5.
Joy Thornton, “Renaissance Color Theory and Some Paintings by Veronese” (Ph.D. diss., University of Pittsburgh, 1977), 223ff
Marcia Hall (ed.), Color and Technique in Renaissance Painting (Locust Valley [1987]),
Martin J. Kemp, The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat (New Haven, 1990), 264ff.
Elizabeth Cropper, “Poussin and Leonardo: Evidence from the Zaccolini MSS,”The Art Bulletin, 62 (1980), 570-582; Charles Dempsey, Annibale Carracci, 30-36.
Martin J. Kemp, “Dissection and Divinity in Leonardo’s Late Anatomies,”Journal of the Warburg and Courtauld Institutes, 35 (1975), 200-225.
S. E.Dolan, “Resolution and Composition in Speculative and Practical Discourse,”Laval Théologique et Philosophique, 6 (1950), 9–62.
Creighton E. Gilbert, “Antique Frameworks for Renaissance Art Theory: Alberti and Pino,”Marsyas, 3 (1943-1947), 87-106.
Dolce, Dialogo della Pittura ⋯ intitolato L’Aretino (Venice, 1557), 101-105
A. Doni, Il Disegno (Venice, 1549)
Paolo Pino, Dialogo di Pittura (Venice, 1548)
Per-Gunnar Ottosson, Scholastic Medicine and Philosophy: A Study of Commentaries on Galen’s Tegni [ca. 1300-1450] (Uppsala, 1984)
Owsei Temkin, Galenism: Rise and Decline of a Medical Philosophy (Ithaca, 1973).
Giorgio Valla, De expetendis et fugiendis rebus (Venice, 1501)
Martin J. Kemp, Leonardo da Vinci: The Marvellous Works of Nature and Man (Cambridge, Mass., 1981).
C. Dempsey, “Some Observations on the Education of Artists in Florence and Bologna During the Later Sixteenth Century,”The Art Bulletin, 62 (1980), 562-569
D. Rosand, “The Crisis of the Venetian Renaissance Tradition,”L’Arte, 3 (1971), 5–53.
Carl Goldstein, Visual Fact over Verbal Fiction: A Study of the Carracci and the Criticism, Theory, and Practice of Art in Renaissance and Baroque Italy (Cambridge, 1988)
Sergio Rossi, Dalle botteghe alle accademie: Realtà sociale e teoria artistiche a Firenze dal XIV al XVI secolo (Milan, 1980)
Karen-Edis Barzman, “The Florentine Compagnia ed Accademia del Disegno”(Ph.D. diss., The Johns Hopkins University, 1985)
Zygmunt Wazbinski, L’Accademia Medicea del Disegno a Firenze nel Cinquecento: Idea e Istituzione (Florence, 1987)
Charles B. Schmitt, Aristotle and the Renaissance (Cambridge, Mass., 1983)
Margaret Iverson, “Style as Structure: Alois Riegl’s Historiography,”Art History, 2 (1979), 62-72
Margaret Olin “Forms of Respect: Alois Riegl’s Concept of Attentiveness,”The Art Bulletin, 71 (1989), 285-299
Henri Zerner, “Alois Riegl: Art, Value, and Historicism,”Daedalus, 105 (1976), 177-188
Joan Hart, “Reinterpreting Wölfflin: Neo-Kantianism and Hermeneutics,”Art Journal, 42 (1982), 292-300
Martin Warnke, “On Heinrich Wölfflin,”Representations, 27 (1989), 172-187
Michael Podro, The Critical Historians of Art (New Haven, 1982).
G. Kubier, “The Aesthetic Recognition of Ancient American Art (1492-1842)
Nancy Stepan, The Idea of Race in Science: Great Britain 1800-1960 (London, 1982).
Marianna Torgovnick, Gone Primitive: Savage Intellects, Modern Lives (Chicago, 1990).
Wladyslaw Tatarkiewicz, History of Aesthetics (The Hague, 1970).
Abbé Dubos, Réflexions critiques sur la poësie et sur la peinture (4th ed., Paris, 1740)
Charles Batteaux, Les beaux arts réduits a même principe (Paris, 1746)
Leonardo Olschki, “Asiatic Exoticism in Italian Art of the Early Renaissance,”The Art Bulletin, 26 (1944), 95-106
Hugh Honour, The New Golden Land: European Images of America from the Discoveries to the Present Time (New York, 1975)
“Ethnography” is an eighteenth-century term designating the study of customs or mores; see John Howland Rowe, “Ethnography and Ethnology in the Sixteenth Century,”The Kroeber Anthropological Society Papers, n. 30 (Spring 1964), 1–14.
Julius von Schlosser, Die Kunst und Wunderkammern der Spätrenaissance: Ein Beitrag zur Geschichte des Sammelwesens (Leipzig, 1908)
Robert Lightbown, “Oriental Art and the Orient in Late Renaissance and Baroque Italy,”Journal of the Warburg and Courtauld Institutes, 32 (1969), 230-280
Detlef Heikamp and Ferdinand Anders, Mexico and the Medici (Florence, 1972)
M. W. Bundy, The Theory of Imagination in Classical and Medieval Thought (Urbana, Ill., 1927);
G. Verbeke, L’Evolution de la doctrine du pneuma du Stoicisme à S. Augustin (Paris, 1945)
E. Ruth Harvey, The Inward Wits: Psychological Theory in the Middle Ages and Renaissance (London, 1975)
Howard Caygill, The Art of Judgement (Oxford, 1989)
According to H. A. Wolfson, Studies in the History of Philosophy and Religion, ed. I. Twersky and G.H. Williams (Cambridge, Mass., 1973), 270-276
George P. Klubertanz, The Discursive Power: Sources and Doctrines of the Vis Cogitativa According to St. Thomas Aquinas (St. Louis, 1952). Thomas Cole, Democritus and the Sources of Greek Anthropology (Cleveland, 1967).
Thomas Cole, Democritus and the Sources of Greek Anthropology (Cleveland, 1967).
H. W. Janson, Apes and Ape Lore in the Middle Ages and the Renaissance (London, 1952), 83-88
Richard Bernheimer, Wild Men in the Middle Ages: A Study in Art, Sentiment, and Demonology (Cambridge, Mass., 1952).
Anthony Pagden, The Fall of Natural Man: The Amerindian and the Origins of Comparative Ethnology (2nd ed., Cambridge, 1986)
David Brion Davis, The Problem of Slavery in Western Culture (Ithaca, 1966)
Lewis Hanke, Aristotle and the American Indians: A Study in Race Prejudice in the Modern World (London, 1959).
Robert Schaifer, “Greek Theories of Slavery from Homer to Aristotle,”Harvard Studies in Classical Philology, 47 (1936), 165-204
Anthony Pagden, Spanish Imperialism and the Political Imagination: Studies in European and Spanish-American Social and Political Theory 1513-1830 (New Haven, 1990), 16-33
Vitoria, Obras de Francisco de Vitoria, ed. Téofilo Urdanoz (Madrid, 1960), 723-725
Editor information
Rights and permissions
Copyright information
© 1991 Springer Science+Business Media Dordrecht
About this chapter
Cite this chapter
Farago, C.J. (1991). The Classification of the Visual Arts in the Renaissance. In: Kelley, D.R., Popkin, R.H. (eds) The Shapes of Knowledge from the Renaissance to the Enlightenment. Archives Internationales d’Histoire des Idées / International Archives of the History of Ideas, vol 124. Springer, Dordrecht. https://doi.org/10.1007/978-94-011-3238-1_3
Download citation
DOI: https://doi.org/10.1007/978-94-011-3238-1_3
Publisher Name: Springer, Dordrecht
Print ISBN: 978-94-010-5427-0
Online ISBN: 978-94-011-3238-1
eBook Packages: Springer Book Archive