| Budget Amount *help |
¥1,620,000 (Direct Cost: ¥1,500,000、Indirect Cost: ¥120,000)
Fiscal Year 2007: ¥520,000 (Direct Cost: ¥400,000、Indirect Cost: ¥120,000)
Fiscal Year 2006: ¥500,000 (Direct Cost: ¥500,000)
Fiscal Year 2005: ¥600,000 (Direct Cost: ¥600,000)
|
|---|
| Research Abstract |
Art Academies as the official teaching institutions were born in late sixteenth century Italy. The Florentine Accademia del Disegno and the Roman Accademia di San Luca played an important role for the formation of the other foreign institutions such as the Academie Royale de Peinture et de Sculpture in Paris. In this research, the investigator reconsiders the characteristics of the San Luca Academy, comparing it with the Florentine Academy.
Before the birth of the San Luca Academy in 1577, there had existed an artists' guild since the fifteenth century. More notable for the future Roman Academy was the foundation of the confraternity in 1543, Compagnia dei Virtuosi al Pantheon, which included many artists who became later eminent members of the San Luca Academy such as Federico Zuccari. The famous emblem motto of the confraternity "FLORENT IN DOMO DOMINI" designed by Zuccari, the president since 1572, may be inspired by that of the Florentine Academy "FLOREAT SEMPRE VEL INVITA MORTE, in
… More
vented by its founder Giovanangelo Montorsoli in the SS.Annunziata.
The two Academies had similar aims and characteristics, at least in their ideals ; respect for theories such as anatomy, geometry, perspective, and the importance of the study of the nude. In the feast days, Academies contributed religious works.
However, the San Luca Academy realized some remarkable attempts foreign to the Florentine Academy, in order to promote the fame and glory of the institution. In Florence, the Academy hung the portraitures of the vice-president (luogotenente), and many artists' self-portraits were collected by the Medici Principate after Leopoldo de'Medici. The San Luca Academy tried to collect the artists' portraits including self-portraits from the early days.
After 1663, the Roman Academy began consistently holding a drawing competition in three classes from beginners to advanced students. It was a mature period of the idealist aesthetics, represented by the art ideologue of the classicism of Giovanni Pietro Bellori. It would be misleading to label the contest as "art history without names" (C.Goldstein), suggesting an academic stereotype of the competition works. In fact, the criteria of the competition existed in the evaluation of the invenzione and fantasia, and the invention of the participants show variety and diversity. However, the contest was not always completely impartial. Lower winners were often awarded a higher prize in the next competition. Evidently, academicians wanted to win the students over to their side. Moreover, the nationality of the winners is very remarkable. In 1670's, many of them were French students. It is no doubt that the hegemony of Louis XIV-Colbert's French political culture influence over " the center of the European Academy" decided the outcome of the competition.
Criticism of the canon of the Academy began in the early eighteenth century with Ludovico David who regretted the decadence of Roman art. In this context, it would be worthy to rethink an artistic canon of the Roman Academy, often criticized nowadays as classical eclecticism. Analysis of the well-known drawing "Painter's Academy" by Carlo Maratta, later commented on by Bellori, and engraved by Nicolas Doriny on the occasion of the prize giving ceremony of the Concorso Clementina in 1728, leads us to the conclusion that an ideal of the San Luca Academy made much of creative inspiration. The canon was based on the greatness of ancient art, Renaissance idealism after Raphael, and another paradoxical factor, "modernity", and it often functioned as innovative. So-called academic and classical discipline of the early modern San Luca Academy was variable, sometimes conservative and sometimes progressive. The academic dogma was not a real fact, rather it signified a neutral sphere of influence on creativity. Less
|
