In 1564,in honor of the death of Michelangelo Buonarroti(1475-1564),an artistic extravaganza was invented by the Benedictine monk Vincenzo Borghini(1515-1580)-prior of the hospital of the innocents,humanist,and admini...In 1564,in honor of the death of Michelangelo Buonarroti(1475-1564),an artistic extravaganza was invented by the Benedictine monk Vincenzo Borghini(1515-1580)-prior of the hospital of the innocents,humanist,and administrator of the Florentine Academy of Design(Accademia del Disegno or Florentine Academy)-and was implemented by Giorgio Vasari(1511-1574)-artist,writer,and artistic director of the Academy,who engaged his Florentine assistants to work on the execution of the tomb in the Basilica of Santa Croce in Florence(see Figure 1).The commission of Michelangelo’s tomb was prompted by his nephew,Lionardo[Leonardo]Simoni-Buonarroti(1522-1599),and the Grand Duke of Tuscany,Cosimo I de’Medici(1519-1574).The tomb was completed in 1578.Vasari designed the architectural monument,and his assistants,members of the Florentine Academy,collaborated in the following manner:The sculptures of the Fine Arts were carved by Giovanni Bandini(1540-1599),who represented the personification of architecture;Valerio di Simone Cioli(1529-1599),who represented the personification of Sculpture;and Battista Lorenzi(1527-1594),who represented the personification of Painting and the portrait bust of Michelangelo.Giovanni Battista Naldini(1537-1591)completed al fresco the burning urns,the purple-colored doorway of the tomb,the suspended canopy,and the Pietàin the center of the marble tabernacle.This latter artistic contribution is the topic of this essay.展开更多
阿尔伯蒂的《论绘画》影响巨大,在从16世纪至今的艺术院校教学活动中都有直接体现。而《阿尔伯蒂:论绘画:新译本与评述版》(Leon Battista Alberti:On Painting:A New Translation and Critical Edition)又全面修订了之前版本的疏漏和错...阿尔伯蒂的《论绘画》影响巨大,在从16世纪至今的艺术院校教学活动中都有直接体现。而《阿尔伯蒂:论绘画:新译本与评述版》(Leon Battista Alberti:On Painting:A New Translation and Critical Edition)又全面修订了之前版本的疏漏和错误,将这一历史名著的学术讨论提升至新的高度,同时也使我们更接近阿尔伯蒂最终的修订版。本文尝试以一种历史的角度,从阿尔伯蒂著作中的基本问题入手,对阿尔伯蒂描述的几何线性焦点透视法的方法与表现,尤其是“窗”对构建透视的作用,结合新译注本作出评价。展开更多
文摘In 1564,in honor of the death of Michelangelo Buonarroti(1475-1564),an artistic extravaganza was invented by the Benedictine monk Vincenzo Borghini(1515-1580)-prior of the hospital of the innocents,humanist,and administrator of the Florentine Academy of Design(Accademia del Disegno or Florentine Academy)-and was implemented by Giorgio Vasari(1511-1574)-artist,writer,and artistic director of the Academy,who engaged his Florentine assistants to work on the execution of the tomb in the Basilica of Santa Croce in Florence(see Figure 1).The commission of Michelangelo’s tomb was prompted by his nephew,Lionardo[Leonardo]Simoni-Buonarroti(1522-1599),and the Grand Duke of Tuscany,Cosimo I de’Medici(1519-1574).The tomb was completed in 1578.Vasari designed the architectural monument,and his assistants,members of the Florentine Academy,collaborated in the following manner:The sculptures of the Fine Arts were carved by Giovanni Bandini(1540-1599),who represented the personification of architecture;Valerio di Simone Cioli(1529-1599),who represented the personification of Sculpture;and Battista Lorenzi(1527-1594),who represented the personification of Painting and the portrait bust of Michelangelo.Giovanni Battista Naldini(1537-1591)completed al fresco the burning urns,the purple-colored doorway of the tomb,the suspended canopy,and the Pietàin the center of the marble tabernacle.This latter artistic contribution is the topic of this essay.
文摘阿尔伯蒂的《论绘画》影响巨大,在从16世纪至今的艺术院校教学活动中都有直接体现。而《阿尔伯蒂:论绘画:新译本与评述版》(Leon Battista Alberti:On Painting:A New Translation and Critical Edition)又全面修订了之前版本的疏漏和错误,将这一历史名著的学术讨论提升至新的高度,同时也使我们更接近阿尔伯蒂最终的修订版。本文尝试以一种历史的角度,从阿尔伯蒂著作中的基本问题入手,对阿尔伯蒂描述的几何线性焦点透视法的方法与表现,尤其是“窗”对构建透视的作用,结合新译注本作出评价。
