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This study is concerned with the fundamentals of Venetian colourism from the perspective of its socio-economic environments with an awareness of recent scientific findings. Intense chromatic beauty and virtuoso handling of paint have long been attributed as characteristics of Venetian Renaissace paintings, and modern art historians have frequently attributed Venices atmospheric and poetic lagoon settings as a main contributor to this quality. It may seem convincing that this natural environment influenced the formal and colouristic perception of local painters. The present research, however, aims to address critical questions regarding one of the practical cores of Venetian colourism; artists pigments, as something more objectively verifiable and probably more revealing.
It is important to note that most of the colours used in the artist’s workshop in fifteenth-century Italy fell into the category of spezie and, as the term spezie (literally spices) implies, a number of pigments in this period had Oriental origin like other imported luxury goods such as seasonings and medicines. Eastern colour materials flowed into the West through the trade routes of the Mediterranean and since the thirteenth century Venice more or less monopolized their trade on the basis of the systematic organisation of sea power. This study has attempted to assess the practical advantage of Venetian painters who were active at this commercial heart of the international colour trade, individually reviewing the major pigments identified in paintings.
The dominance of Venice in Mediterranean made has other significant implications for the discussion of Venetian painting, since the merchants with a trained eye on diverse merchandise including colour materials consisted in large pan of both the clients and spectators of Venetian painters. The pragmatic experience of colours Venetian merchants obtained from their engagement with international trade is likely to have penetrated deeply into their aesthetic taste. Therefore, this study addressed fundamental questions such as the Venetian concern with colour and how Venetian painters colouristically met the requirements of their clients, examining documentary sources,
such as tariffs, government records and merchant account books, These commercial documents collectively indicated that Venice was the centre of the international colour trade and that Venetians were widely engaged with this trade.
The question as to how the mechanism of the choice of colours worked between artists and patrons is a complicated matter, but this study attempted to shed some light on it by analyzing surviving Venetian contracts and payment documents, particularly their stipulations of materials and their provision. It is based on thirty Venetian contracts dated from 1440 to 1520 「see Appendix」, which show that Venetian patrons influenced their painters through the systems of commission of Italian art, and their criticism on colours and application of them was more sophisticated, conforming that a majority of them were directly and indirectly involved with the trade in colour and material.
In order to analyse the Venetian public’s concern with colour and the response of their local painters to it, the final section of this thesis focuses on the colouristic compositions of several Venetian paintings dating from the mid fifteenth century to the early sixteenth century such as Bartolomeo Vivarini’s St Ambrose Altarpiece (c. 1477, Accademia, Venice), Giovanni Bellini’s Virgin and Child with a Donor (Private Collection) and Barbarigo Canvas (1488, San Pietro Martire, Murano), and Titian’s Ca Pesaro Altarpiece (1519-26, Frari, Venice). This thesis concludes that the brilliant surface textures and exotic colour found in these works were to make a strong impression on an audience who was merchant in blood and may have derived its aesthetic taste from the business experience of dealing with various colours.
It is important to note that most of the colours used in the artist’s workshop in fifteenth-century Italy fell into the category of spezie and, as the term spezie (literally spices) implies, a number of pigments in this period had Oriental origin like other imported luxury goods such as seasonings and medicines. Eastern colour materials flowed into the West through the trade routes of the Mediterranean and since the thirteenth century Venice more or less monopolized their trade on the basis of the systematic organisation of sea power. This study has attempted to assess the practical advantage of Venetian painters who were active at this commercial heart of the international colour trade, individually reviewing the major pigments identified in paintings.
The dominance of Venice in Mediterranean made has other significant implications for the discussion of Venetian painting, since the merchants with a trained eye on diverse merchandise including colour materials consisted in large pan of both the clients and spectators of Venetian painters. The pragmatic experience of colours Venetian merchants obtained from their engagement with international trade is likely to have penetrated deeply into their aesthetic taste. Therefore, this study addressed fundamental questions such as the Venetian concern with colour and how Venetian painters colouristically met the requirements of their clients, examining documentary sources,
such as tariffs, government records and merchant account books, These commercial documents collectively indicated that Venice was the centre of the international colour trade and that Venetians were widely engaged with this trade.
The question as to how the mechanism of the choice of colours worked between artists and patrons is a complicated matter, but this study attempted to shed some light on it by analyzing surviving Venetian contracts and payment documents, particularly their stipulations of materials and their provision. It is based on thirty Venetian contracts dated from 1440 to 1520 「see Appendix」, which show that Venetian patrons influenced their painters through the systems of commission of Italian art, and their criticism on colours and application of them was more sophisticated, conforming that a majority of them were directly and indirectly involved with the trade in colour and material.
In order to analyse the Venetian public’s concern with colour and the response of their local painters to it, the final section of this thesis focuses on the colouristic compositions of several Venetian paintings dating from the mid fifteenth century to the early sixteenth century such as Bartolomeo Vivarini’s St Ambrose Altarpiece (c. 1477, Accademia, Venice), Giovanni Bellini’s Virgin and Child with a Donor (Private Collection) and Barbarigo Canvas (1488, San Pietro Martire, Murano), and Titian’s Ca Pesaro Altarpiece (1519-26, Frari, Venice). This thesis concludes that the brilliant surface textures and exotic colour found in these works were to make a strong impression on an audience who was merchant in blood and may have derived its aesthetic taste from the business experience of dealing with various colours.
목차
1. 연구주제와 접근방법
2. 베네치아의 색채
3. 베네치아 상인들의 안료에 대한 지식
4. 베네치아 화가들의 계약서
5. 작품을 통해 본 색채주의
부록: 베네치아 회화 제작용 계약서와 지불명세서 목록
참고문헌
Abstract
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