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커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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To investigate the medieval characteristics of art theories, I begin with De diversis artibus by Theophilus The author Theophilus seems to be a metalsmith in Benedictian convent and explains the technique of metalworks: gold, silver, gem and jewel. We Can confirm his method in 12th century metalworks such as Cross-relique of San Dionigi at Enger(fig, 1), He emphasizes to make the holy and precious things like a calice or an evangelistic book cover with precious materials like gold and jewels. His aim of making art is to enbellishing Goo' s house,
Cennino Cennini, the author of Il libra dell' Arte(The book about Art), makes his position dear" as a painter with genealogy of Giotto and is proud of it. He describes how the nature should be represented realistically, His method of chiaoscuno (light and shade) and perspective is coincident with Giotto s painting (fig 4. 5). For him, the painting is the union of the scienza (theory)' and the hand work. fantasy and operation, 'Dolce stile nuovo' was based upon not only the brush work but also the intellect, as the contemporary humanists praised Giotto with lus intellectual painting, Cennini' s comparison of painting with science and poetry is continued until l Sth century.
L. B, Alberti developed 'ricettari' into an Art theory on his Del/a Pittura(On painting), He finally codified the Renaissance perspective that was originated by Brunelleschi and practised by Masaccio(fig.6),
We can find examples of his theory in Masaccio s painting. Alberti insisted that the audience should be attracted by gestures of characters. Masaccio makes Malia of Trinita(fig.6, 12) attract us, where she is stretching her ann forward jesus with her eyes toward us. Moreover. Masaccio represented the massiveness of the faces by using chiaroscuro which Alberti had recommended. Cappella Brancacci (fig.7, 8) shows examples following Alberti's advice for using colors. Then, what did Alberti contribute to. if Alberti s theory in 1435 had already been realized in Masaccio' s painting in 1427.
Alberti who sympathized with the precious value of the new style of painting established his theory in his book. The effective use of perspective. chiaroscuro, gesture of contemporary leading painters are approved in the humanist's writing and it spread out with increasing speed in the next period.
The respective expression between Alberti and the artists pleases us. Alberti expected that the painters would insert his portrait in their painting as reward of his useful book. Actually. Masaccio put the group portraits of Brunelleschi, Alberti and himself in his work (fig. 15, 16).
The Art theory changed by humanists is not just an artistic phenomena. Artists and humanists hold their recognition in common and respected each other in their own ways.
Cennino Cennini, the author of Il libra dell' Arte(The book about Art), makes his position dear" as a painter with genealogy of Giotto and is proud of it. He describes how the nature should be represented realistically, His method of chiaoscuno (light and shade) and perspective is coincident with Giotto s painting (fig 4. 5). For him, the painting is the union of the scienza (theory)' and the hand work. fantasy and operation, 'Dolce stile nuovo' was based upon not only the brush work but also the intellect, as the contemporary humanists praised Giotto with lus intellectual painting, Cennini' s comparison of painting with science and poetry is continued until l Sth century.
L. B, Alberti developed 'ricettari' into an Art theory on his Del/a Pittura(On painting), He finally codified the Renaissance perspective that was originated by Brunelleschi and practised by Masaccio(fig.6),
We can find examples of his theory in Masaccio s painting. Alberti insisted that the audience should be attracted by gestures of characters. Masaccio makes Malia of Trinita(fig.6, 12) attract us, where she is stretching her ann forward jesus with her eyes toward us. Moreover. Masaccio represented the massiveness of the faces by using chiaroscuro which Alberti had recommended. Cappella Brancacci (fig.7, 8) shows examples following Alberti's advice for using colors. Then, what did Alberti contribute to. if Alberti s theory in 1435 had already been realized in Masaccio' s painting in 1427.
Alberti who sympathized with the precious value of the new style of painting established his theory in his book. The effective use of perspective. chiaroscuro, gesture of contemporary leading painters are approved in the humanist's writing and it spread out with increasing speed in the next period.
The respective expression between Alberti and the artists pleases us. Alberti expected that the painters would insert his portrait in their painting as reward of his useful book. Actually. Masaccio put the group portraits of Brunelleschi, Alberti and himself in his work (fig. 15, 16).
The Art theory changed by humanists is not just an artistic phenomena. Artists and humanists hold their recognition in common and respected each other in their own ways.
목차
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