但丁与现代艺术家崇拜

IF 0.1 4区 历史学 0 CLASSICS
Paul Barolsky
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引用次数: 8

摘要

l:不到一千年前,大约1300年,在意大利,特别是在托斯卡纳,开始出现一种新的艺术家意识。这一进展最终导致250年后瓦萨里的《生平》在佛罗伦萨出版。从契马布埃(Cimabue)到米开朗基罗(Michelangelo),这是一系列关于画家、雕塑家和建筑师的不朽传记,旨在展示艺术走向完美的整体进程,瓦萨里的书被视为艺术史的基础,是我希望称之为艺术家崇拜的更广泛现象的一部分。从文艺复兴时期的大师到伦勃朗、梵高、皮·卡索和杰克逊·波洛克等许多人,现代艺术家作为西方世界英雄的名声远远超出了艺术史作为一门知识学科或研究领域的范围。这种荣耀与现代艺术博物馆的兴起及其轰动一时的明星艺术家展览密切相关;它反映在关于艺术家的庆祝小说、故事、诗歌和电影中,在我们这个时代激增。这种对艺术家的夸大是19世纪被称为艺术宗教的核心。艺术家地位的提升,或者瓦萨里所说的“工匠”,是我们自己文化的主要特征之一,因为在现代时期之前,没有艺术家的传记。事实上,对艺术家的颂扬是现代性或所谓的现代主义的众多决定性特征之一。老普林尼在他的《自然史》中保存了关于菲迪亚斯和阿佩莱斯以及其他希腊艺术家的著名的古典轶事,这些轶事是现代把这位艺术家吹捧为英雄的根源。尽管这些艺术家在这些传记之前的寓言中享有荣耀,但艺术家在很大程度上仍然是默默无闻的
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Dante and the Modern Cult of the Artist
.L/Ess than a millennium ago, circa 1300, there began to emerge in Italy, specifically in Tuscany, a new con sciousness of the artist?a development that eventually led to the publication in Florence, 250 years later, of Vasari's Lives. A monumental series of biographies of painters, sculptors, and architects from Cimabue to Michelangelo, organized to dem onstrate the overall progress of art toward perfection, Vasari's book is seen as the foundation of art history, which is part of a broader phenomenon that I wish to call the cult of the artist. The modern fame of the artist as hero in the Western world from the Renaissance masters to Rembrandt, Van Gogh, Pi casso, and Jackson Pollock, among many others, extends far beyond art history as an intellectual discipline or field of study. Such glory is closely tied to the rise of the modern art museum and its blockbuster exhibitions of artists as stars; and it is reflected in celebratory novels, stories, poetry and films about artists, which proliferate in our own day. This aggrandizement of the artist is central to what in the nineteenth century came to be called the religion of art. The el evated status of the artist, or what Vasari called the artificer, is one of the principal, distinguishing features of our own cul ture, since there were no biographies of artists before the mod ern period. In fact, the celebration of the artist is one of the many defining features of modernity or, as it is called, mod ernism. The famous, classical anecdotes about Phidias and Apelles, among other Greek artists preserved by Pliny the El der in his Natural History, are the taproots of the modern ex altation of the artist as hero. Despite the glory of such artists in these pre-biographical fables, artists remained largely anony
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来源期刊
CiteScore
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发文量
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期刊介绍: MORE THAN humane philology is essential for keeping the classics as a living force. Arion therefore exists to publish work that needs to be done and that otherwise might not get done. We want to stimulate, provoke, even "plant" work that now finds no encouragement or congenial home elsewhere. This means swimming against the mainstream, resisting the extremes of conventional philology and critical fashion into which the profession is now polarized. But occupying this vital center should in no way preclude the crucial centrifugal movement that may lead us across disciplinary lines and beyond the academy. Our commitment is to a genuine and generous pluralism that opens up rather than polarizes classical studies.
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