| Budget Amount *help |
¥2,600,000 (Direct Cost: ¥2,600,000)
Fiscal Year 2003: ¥1,100,000 (Direct Cost: ¥1,100,000)
Fiscal Year 2002: ¥1,500,000 (Direct Cost: ¥1,500,000)
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| Research Abstract |
In this research we examined Bellori's descriptions of two paintings by Domenichino, a historical painting, "Last Communion of St. Jerome" (1614) and a poetical painting, "Hunting of Diana" (1617), to clarify the relation between description and the genre of a painting. In his descriptions, Bellori stresses the importance of invention and disposition, but he gives priority to the former in the description of history painting, while he praises the copiousness of disposition of painter in the description of poetic painting. We traced the origin of this difference in attitude in the artistic literature of Sixteenth century Italy and pointed out that, in Venice, from the early 16th century, they (esp. painters) recognized two genres of painting, that, "storia (history)" and "poesia ", and they allowed much greater liberty to the imagination of painter in the latter.
We followed the diffusion of this attitude in treatises on art written in this century and pointed out that a treatise on religious, "Dialogo nel quale si ragiona degli errori e degli abusi de' pittori circa 1' istorie" of Giovanni Andrea Gilio (1564), played an important role in the process. Usually little attention is paid to this pamphlet because it is considered as a conservative treatise by a cleric written with a scope to admonish painters not to abuse their imagination when they paint historic subjects, especially religious histories. But in the preface Gilio divides painting into two genres,. "history" and "poetry", and asks painters to express exactly and only what is required in the former while he permits license of their imagination in the latter. Gilio's pamphlet was very popular among art theorists in the Counter-Reformation period and exercised considerable influence. By the turn of the century, the distinction of two genres has been established.
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