Die Zeichenkunst gehörte in der Frühen Neuzeit zu einer grundlegenden künstlerischen Arbeitspraxis. Seit dem 16. Jahrhundert begannen in Italien zunehmend auch Kunstliebhaber damit, sich das Zeichnen anzueignen. Nanobashvili stellt... more
Die Zeichenkunst gehörte in der Frühen Neuzeit zu einer grundlegenden künstlerischen Arbeitspraxis. Seit dem 16. Jahrhundert begannen in Italien zunehmend auch Kunstliebhaber damit, sich das Zeichnen anzueignen. Nanobashvili stellt erstmals in der Studie die Lerntechniken von Künstlern und Dilettanti gegenüber. Auf diesem Weg werden entscheidende Erkenntnisse zur Kunsttheorie und Zeichenpraxis in den Jahren von 1560 bis 1630 erlangt. Dies erlaubt eine Neubewertung von Alessandro Alloris Ragionamenti delle regole del disegno, der Carracci-Akademie in Bologna sowie der Praxis des Aktzeichnens, ausgehend von den Werkstattbeständen des venezianischen Künstlers Filippo Esengren.
208 Seiten, 160 Farb- und 43 S/W-Abbildungen, Hardcover
ISBN 978-3-7319-0612-4
In the early modern period drawing was one of the main working practices of artists. Since the 16th century more and more dilettanti showed interest for learn drawing. For the first time Nanobashvili opposes learning techniques of artists and dilettanti, by which she can shed new light on drawing practices and theoretical questions. This approach allows a new understanding of Alessandro Alloris Ragionamenti delle regole del disegno, the Carracci-academy in Bologna, as well as the life drawing by examining an informal circle of venetian artist Filippo Esengren.
This is a paper I submitted to Storia dell' Arte in 1973, based on an MS in the British Library of Giovanni Battista Agucchi's MS in the British Library, which was written for Ludovico Carracci to execute a painting following his... more
This is a paper I submitted to Storia dell' Arte in 1973, based on an MS in the British Library of Giovanni Battista Agucchi's MS in the British Library, which was written for Ludovico Carracci to execute a painting following his programme. Although Ludovico''s picture was evidently not exactly what the patron was looking for,the programme is a primary source for understanding Agucchi's role in fostering the new 'classical' landscape, particularly in the hands of the young Domenichino, who was staying with the Agucchi brothers in Rome at this period.
