比安卡·卡佩罗宫怪诞的挑衅

IF 0.2 3区 艺术学 0 ART
Victoria Addona
{"title":"比安卡·卡佩罗宫怪诞的挑衅","authors":"Victoria Addona","doi":"10.1086/724209","DOIUrl":null,"url":null,"abstract":"While architectural inventions after Michelangelo are often termed “Mannerist,” Giorgio Vasari used a more conspicuous adjective to describe licentious ornament: grotesque. According to Vasari, “new fantasies have since been seen which have more of the grotesque than of reason or rule in their ornamentation.” The “fantasies” that architects such as Bartolomeo Ammannati, Bernardo Buontalenti, and Vasari","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.2000,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"The Grotesque Provocations of the Palazzo di Bianca Cappello\",\"authors\":\"Victoria Addona\",\"doi\":\"10.1086/724209\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"While architectural inventions after Michelangelo are often termed “Mannerist,” Giorgio Vasari used a more conspicuous adjective to describe licentious ornament: grotesque. According to Vasari, “new fantasies have since been seen which have more of the grotesque than of reason or rule in their ornamentation.” The “fantasies” that architects such as Bartolomeo Ammannati, Bernardo Buontalenti, and Vasari\",\"PeriodicalId\":43235,\"journal\":{\"name\":\"SOURCE-NOTES IN THE HISTORY OF ART\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2022-09-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"SOURCE-NOTES IN THE HISTORY OF ART\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1086/724209\",\"RegionNum\":3,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ART\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"SOURCE-NOTES IN THE HISTORY OF ART","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1086/724209","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
引用次数: 0

摘要

虽然米开朗基罗之后的建筑发明通常被称为“矫饰主义”,但乔治·瓦萨里用了一个更明显的形容词来形容放荡的装饰:怪诞。根据瓦萨里的说法,“从那以后出现了新的幻想,它们的装饰中更多的是怪诞,而不是理性或规则。”建筑师如Bartolomeo Ammannati, Bernardo Buontalenti和Vasari的“幻想”
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Grotesque Provocations of the Palazzo di Bianca Cappello
While architectural inventions after Michelangelo are often termed “Mannerist,” Giorgio Vasari used a more conspicuous adjective to describe licentious ornament: grotesque. According to Vasari, “new fantasies have since been seen which have more of the grotesque than of reason or rule in their ornamentation.” The “fantasies” that architects such as Bartolomeo Ammannati, Bernardo Buontalenti, and Vasari
求助全文
通过发布文献求助,成功后即可免费获取论文全文。 去求助
来源期刊
CiteScore
0.10
自引率
0.00%
发文量
20
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
确定
请完成安全验证×
copy
已复制链接
快去分享给好友吧!
我知道了
右上角分享
点击右上角分享
0
联系我们:info@booksci.cn Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术官方微信