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Taddeo di Bartolo and the uses of the past in early quattrocento painting.

机译：塔迪奥·迪·巴托洛（Taddeo di Bartolo）及其在早期quattrocento绘画中的过去运用。

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摘要

This dissertation interprets a small group of early fifteenth-century paintings by the Sienese artist Taddeo di Bartolo, selected for their distinctly retrospective character. Late fourteenth- and fifteenth-century art is often interpreted as dependent on the art of the Sienese "Golden Age", or early fourteenth century. This dissertation, however, seeks to expand the field through its focus on a group of works that do not fit comfortably within this interpretation of later Sienese art. Although the works have been selected for their retrospective character, the ways in which they engage with the past cannot be primarily explained through reference to the earlier fourteenth century. They are instead viewed in the scholarship as anomalous in one way or another. The research conducted for this project yielded an unexpectedly unified result, and the dissertation presents the argument that the retrospective character of each of the four selected paintings creates a link between the present and early Christian antiquity through self-conscious engagement with ancient art.;The paintings that serve as the focus of the project were painted by Taddeo di Bartolo in the first two decades of the fifteenth century. The leading artist in Siena at the time, Taddeo was sought out by a wide spectrum of patrons throughout Italy, as evidenced by this group of paintings commissioned for churches in Orte (Lazio), San Gimignano (Tuscany), and Perugia (Umbria). All four of the artworks are altarpieces, and I have devoted one chapter to the study of each. Chapter One discusses a Madonna Avvocata painting produced for a church in Orte. Chapters Two and Three focus on paintings for the pieve of San Gimignano: one, a vita altarpiece, and the other, a half-length pentaptych. Chapter Four is centered on a double-sided standing-saint altarpiece made for the church of San Francesco al Prato, Perugia. The ancient objects discussed in relation to these paintings range from panel paintings perceived to have been painted by the hand of Saint Luke, small pagan ivory diptychs kept in Christian church treasuries, ancient Roman funerary sculpture lining the roads leading out of Rome, and ancient columnar sarcophagi found in ecclesiastic contexts throughout Italy.
机译：本文解释了由锡耶纳艺术家塔迪奥·迪·巴托洛（Taddeo di Bartolo）创作的一小幅15世纪早期画作，这些画作因其鲜明的回顾性而被选中。 14世纪末和15世纪末的艺术通常被解释为依赖于Sienese的“黄金时代”或14世纪初的艺术。然而，本论文力求通过将重点放在一组不适用于对后世艺术的诠释中的作品来扩大这一领域。尽管已选择了具有追溯力的作品，但不能通过参考早期的十四世纪来初步解释它们与过去的互动方式。取而代之的是，在学术界将它们视为一种或多种异常。为该项目进行的研究产生了出乎意料的统一结果，并且论文提出了这样一种论点，即四幅入选作品中的每幅作品的回顾性特征通过对古代艺术的自觉参与在当前和早期基督教古代之间建立了联系。作为该项目重点的绘画作品是由Taddeo di Bartolo在15世纪前20年绘制的。 Taddeo当时是锡耶纳（Siena）的首席艺术家，在意大利各地受到众多顾客的青睐，这组作品是委托给奥尔特（拉齐奥），圣吉米尼亚诺（托斯卡纳）和佩鲁贾（翁布里亚）教堂的绘画。所有这四件艺术品都是祭坛画，我专门研究了每一章。第一章讨论了为奥尔特教堂建造的​​圣母玛瑙娜的画作。第二章和第三章着重介绍圣吉米尼亚诺的神彩画作：一幅是维塔尔祭坛，另一幅是半身五重奏。第四章的重点是为佩鲁贾的圣弗朗切斯科·阿尔·普拉托教堂制作的双面站立式圣坛祭坛。与这些绘画有关的古代物品包括：被认为是圣卢克手绘画的壁画，基督教教堂里的小异教徒象牙双联画，通往罗马之路的古罗马陪葬雕塑和古代柱状画。在整个意大利的教会背景中发现石棺。

著录项

  • 作者

    Cree, Sarah Elizabeth.;

  • 作者单位

    Yale University.;

  • 授予单位 Yale University.;
  • 学科 Art History.
  • 学位 Ph.D.
  • 年度 2010
  • 页码 228 p.
  • 总页数 228
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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