安东尼奥·罗塞利诺,普拉克西特莱斯的爱神,米开朗基罗的大卫

IF 0.2 3区 艺术学 0 ART
Sean T. Roberts
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引用次数: 0

摘要

对于文艺复兴时期的艺术作家来说,很少有比喻能在当代和古代的实践者之间得到比较。在一组精选的比较者中,最常见的无疑是画家的阿佩莱斯和雕塑家的普拉克西特莱斯,尽管米隆、利西普斯、菲迪亚斯和其他人偶尔出现。对现代读者来说,这些比喻在适当性和实用性上有很大的不同,对地区和一时的品味、友谊、网络和竞争有很大的反应。巴蒂斯塔·斯帕诺里(Battista Spagnoli)声称,与安德里亚·曼特尼亚(Andrea Mantegna)的作品相比,古人的艺术“已经失去了光泽”,这在精神上符合艺术史对他的重要性的评价
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Antonio Rossellino, the Eros of Praxiteles, and Michelangelo’s David
For Renaissance writers on art, few tropes enjoyed the prominence of comparison between contemporary and ancient practitioners. Among a select group of comparanda, the most commonwere surely Apelles for painters and Praxiteles for sculptors, though Myron, Lysippus, Phidias, and others made sporadic appearances. To modern readers, such analogies vary widely in their appropriateness and utility, responding to regional and momentary tastes, friendships, networks, and rivalries. Battista Spagnoli’s claim that the art of the ancients “is tarnished and loses all luster”when seen alongside that of Andrea Mantegna accords, in spirit, with art historical estimations of the significance of his
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CiteScore
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