On Antique Painting
- Publish Date: Expected 7/5/2013
- Dimensions: 6 x 9
- Page Count: 288 pages Illustrations: 10 illustrations
- Hardcover ISBN: 978-0-271-05965-5
“As the only English translation of this significant Renaissance treatise, On Antique Painting marks a contribution not only to the field of Portuguese literature but also to the study of humanism during the Renaissance.”
“On Antique Painting belongs to a tradition of English translations of important primary sources in Renaissance art history and theory, including Leon Battista Alberti's On Painting and Giorgio Vasari's Lives of the Artists.”
“Alice Sedgwick Wohl’s translation of Francisco de Hollanda’s De pintura antigua reintroduces an important voice to the larger discourse on Renaissance art theory and criticism. The Portuguese visitor was an alert witness to the aesthetic discussions taking place in sixteenth-century Rome; these he recorded in a series of dialogues in which Michelangelo was a dominant participant—and the reason the dialogues themselves have received much attention in modern scholarship. The dialogues, however, constituted Book II of Hollanda’s larger project, which was intended as a defense of the nobility of the art of painting and a program for realizing that goal. In the forty-four chapters of Book I, the author addresses all the major themes in the discussion of the art, but Hollanda’s most ambitious recapitulation of Renaissance aesthetics has been relatively neglected in art-historical scholarship. This new translation and critical edition will inspire reevaluation of Hollanda and the significance of his project.”
“Alice Wohl's long-awaited translation of Francisco de Hollanda's On Antique Painting in its entirety (which includes not only the four dialogues, but the treatise!) is an excellent contribution to the distinguished Penn State series of translations of primary sources in Renaissance and Baroque art. A valuable contribution to the study of Renaissance art history, literature, theory, and many other topics of interest, including the culture of Renaissance Portugal and the classical revival of the Renaissance, this translation should renew interest in Michelangelo's fascinating and controversial role in Hollanda's dialogues. Introductory essays and endnotes provide the reader with a rich context for the understanding of this important work.”
Introduction
Note on the Early Years of the Portuguese Empire
Alice Sedgwick Wohl
Francisco de Hollanda (1517–1584): The Fascination of Rome and the Times in Portugal
Joaquim Oliveira Caetano
Francisco de Hollanda and Art Theory, Humanism, and Neoplatonism in Italy
Charles Hope
On Antique Painting
Book I
Prologue
Chapter I: How God Was a Painter
Chapter II: What Painting Is
Chapter III: On the First Painters
Chapter IV: Which Was the Fatherland of Painting
Chapter V: When Painting Was Lost, and When It Was Rediscovered
Chapter VI: How the Holy Mother Church Preserves Painting
Chapter VII: What the Painter Must Be
Chapter VIII: What Sciences Are of Use to the Painter
Chapter IX: By What Means the Painter Must Learn
Chapter X: The Second Thing from Which He Must Learn
Chapter XI: The Difference of Antiquity
Chapter XII: Why Antique Painting Is Celebrated and What It Is
Chapter XIII: How the Precept of Antique Painting Spread Through the Whole World
Chapter XIV: Concerning Some Precepts of Antiquity, and First, Concerning the Invention
Chapter XV: Concerning the Idea, What It Is in Painting
Chapter XVI: In What the Power of Painting Consists
Chapter XVII: Of the Proportion of the Body
Chapter XVIII: On Anatomy
Chapter XIX: On Physiognomy
Chapter XX: Precept for Antique Figures Standing Still
Chapter XXI: On Antique Figures That Move or Walk or Run or Fight
Chapter XXII: On Antique Figures That Are Seated and [Those That Are] Recumbent
Chapter XXIII: On Antique Equestrian Statues
Chapter XXIV: On the Ornament and Costume of the Ancients in Their Images
Chapter XXV: On Painting Animals
Chapter XXVI: On the Composition of Antique Historias
Chapter XXVII: On Painting Sacred Images, and First, Images of Our Savior
Chapter XXVIII: On Painting Images of the Invisible
Chapter XXIX: On the Divine Image
Chapter XXX: On Other Images of the Invisible, Such as the Virtues
Chapter XXXI: On Invisible Forms Such as the Vices
Chapter XXXII: On Painting Purgatory and Hell
Chapter XXXIII: On Painting Eternity and Glory, and the World
Chapter XXXIV: On Light or Brightness in Painting
Chapter XXXV: On Shade and Darkness in Painting
Chapter XXXVI: On Black and White
Chapter XXXVII: On the Colors
Chapter XXXVIII: On Decorum or Decency
Chapter XXXIX: On Perspective
Chapter XL: On the Point at Which the Painting Converges
Chapter XLI: On Foreshortening
Chapter XLII: On Statuary Painting or Sculpture
Chapter XLIII, Part 1: On Painting as Architect
Chapter XLIII, Part 2: On Painting as Architect
Chapter XLIV, Part 1: On All the Types and Modes of Painting
Chapter XLIV, Part 2: On All the Types and Modes of Painting
Table of Some Rules for Painting
Book II
Prologue
First Dialogue
Second Dialogue
Third Dialogue
Fourth Dialogue
Table of the Famous Modern Painters Whom They Call Eagles
Proverbs About Painting
Remembrance
Appendix A: Chronology of Popes and Rulers
Appendix B: Works by Francisco de Hollanda
Glossary
Bibliography
Subject Index
Index of Names and Places
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