早期佛罗伦萨雕像中镀金身体的政治

IF 0.3 3区 艺术学 0 ART
A. Wright
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引用次数: 0

摘要

文艺复兴时期雕塑的文字历史鼓励我们透过金色的表面去看。专注于“形式”载体的注意力可能会忽略镀金。这在一定程度上是由于15世纪末和16世纪发展起来的雕塑理论的色盲,以及贵重金属制品被排除在“disegno”艺术的有限定义之外的方式。1775年,画家安东·拉斐尔·蒙斯(Anton Raphael Mengs)走近托斯卡纳大公,要求他去除该市浸礼会门上的棕色清漆,露出它们的镀金,但遭到拒绝,理由是金色表面太脆弱,“即使门是纯金的,在贪婪的人眼中也只会更美丽,但它们不能满足绘图员/设计师的要求(放弃资格);正如未经上漆的青铜不能满足于混淆视线的虚假灯光一样。1对黄金的蔑视
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The politics of the gilded body in early Florentine statuary
The written history of Renaissance sculpture has encouraged us to see through gold surfaces. Attention trained to focus on the vehicle of ‘form’ can overlook gilding as skin deep. This is partly a consequence of the colour blindness of sculptural theory as it was developed in the later fifteenth and sixteenth century and of the way precious metalwork was excluded from a restricted definition of the arts of ‘disegno’. When, in 1775, the painter Anton Raphael Mengs approached Tuscany’s Grandduke for permission to remove brown varnish from the city’s Baptistery doors to reveal their gilding, he was rebuffed on the grounds that the gold surface was too fragile and that ‘even if the doors were of solid gold they would only be more beautiful to the eyes of the greedy, and more magnificent, but they would not satisfy a draughtsman/designer (disegnatore); just as an unpatinated bronze does not satisfy because of the false lights that confound one’s sight’.1 The disdain for gold
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CiteScore
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