摘要
乔万尼·皮耶特罗·贝洛里(Giovanni Pietro Bellori,1613~1696)是17世纪意大利古物学家,但今天更为著名的是他作为杰出美术史家、批评家和传记作家的身份,他相当于17世纪的“乔治·瓦萨里”。维也纳美术史家施洛塞尔评价贝洛里“不仅是17世纪罗马的,而且是整个意大利甚至欧洲的最重要的美术史家”。贝洛里的《现代画家、雕塑家和建筑师传》及其前言不仅因其作为17世纪多位艺术家的传记而重要,更是因为它是研究整个17世纪艺术史、艺术理论和艺术批评的基础文献。尽管贝洛里仍是沿着瓦萨里的步伐在迈进,但他对于具象艺术的书写方法是全新的,是一种完全原创性的方式。本文通过对贝洛里的写作内容和写作方法进行解读,试图揭示出在文艺复兴盛期后意大利绘画逐渐衰落的背景下,贝洛里的写作意图和理论抱负。
Giovanni Pietro Bellori(1613–1696)was an Italian antiquarian in the 17th century,but today he is even more famous as a prominent art historian,critic and biographer,and he was equivalent to Giorgio Vasari of the 17th century.Julius von Schlosser regarded Bellori as“the most important historian of art not only in Rome but throughout Italy and even Europe,in the seventeenth century.”Bellor’s Vite de’Pittori,Scultori ed Architetti Moderni and its preface are fundamental documents not only for the artists whose biographies are included but also for seventeenth-century art history,art theory and art critics in general.Even though he followed in Vasari’s footsteps,Bellori had a new way of writing about the figurative arts in a completely original manner.Through the analysis of the content and method of Bellori’s writing,this paper attempt to show Bellori’s writing intentions and his theoretical ambitions in the context of the gradual decline of Italian painting after the High Renaissance.
出处
《艺术设计研究》
CSSCI
2019年第4期114-117,36,共5页
Art & Design Research
作者简介
胥恒,北京大学艺术学院,博士研究生。
