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首页> 外文学位 >Panorama, power, and history: Vasari and Stradano's city views in the Palazzo Vecchio.
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Panorama, power, and history: Vasari and Stradano's city views in the Palazzo Vecchio.

机译：全景，力量和历史：Vecchio宫中Vasari和Stradano的城市景观。

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摘要

Painted topographical views of cities and their environs appear throughout the mid-sixteenth-century fresco decorations of the Palazzo Vecchio. This project focuses primarily on the most extensive series, those in the Quartiere di Leone X. Giorgio Vasari and his assistant Giovanni Stradano painted the five rooms of this apartment between 1556 and 1561. The city views take one of three forms in each painting: as a setting for a historical scene, as the background of an allegory, or as the subject of the view itself. The Quartiere paintings present a history of the Medici and their rule of Florence as a legitimization of the new ducal rule under Cosimo I. The topographical portraits promote this historical argument in two interdependent ways: they present its geographic extent and they promote its cogency.;To argue this thesis, the dissertation examines the position of the city views in relation to contemporary historiographic and cartographic practices. It begins by placing the Palazzo Vecchio city portraits within a new school of topographical views deriving from Antwerp, explaining how this type differs in their on-site sketching methods from other survey-dependant types. Vasari used that difference to help build enargeia for the history he presents in the decorations. The sketching proffered a more verisimilar information that lacked the specifics of measurement while capturing the character of the topography. That character permitted greater engagement through memory, thereby heightening the visualization required by historiography. Following three chapters that ground that argument, two sustained studies explain how the city views specific to a single room work in conjunction with the overall decoration. In the Sala di Clemente VII, the views act as settings that subtly manipulate the viewer's judgment of the presented history to present the Medici rule of Florence as just. In the Sala di Cosimo I, the city portraits celebrate the duke's fortification program to protect and make cohesive the Tuscan state. In both, and throughout the decorative program, the city paintings work to enhance belief in the dominion of the duke.
机译：在十六世纪中叶的旧维奇奥宫壁画中，都可以看到城市及其周围地区的绘画地形图。该项目主要关注最广泛的系列，即Quartiere di LeoneX。乔治·瓦萨里（Giorgio Vasari）和他的助手乔瓦尼·斯特拉达诺（Giovanni Stradano）在1556年至1561年间为这套公寓的五个房间进行了粉刷。每幅油画都采用以下三种形式之一呈现城市景观：历史场景的背景，寓言的背景或视图本身的主题。 Quartiere的绘画展现了美第奇及其佛罗伦萨统治的历史，以此作为科西莫一世新公爵统治的合法化。地形肖像以两种相互依存的方式促进了这一历史论点：它们展现了其地理范围，并促进了其权威性。为了论证这一论点，本文考察了城市景观在当代史学和制图实践中的地位。首先，将维奇奥宫的城市肖像放置在源自安特卫普的新地形学派中，解释这种类型的现场素描方法与其他依赖调查的类型之间的差异。瓦萨里利用这种差异帮助扩大了他在装饰品上呈现的历史。草图提供了更多类似的信息，这些信息缺少测量的详细信息，同时又捕获了地形特征。该角色允许通过记忆进行更多互动，从而提高了史学所需的可视化效果。在三章以此为依据的基础上，进行了两项持续的研究，解释了特定于单个房间的城市景观如何与整体装饰相结合。在萨拉·克莱门特七世（Sala di Clemente VII）中，这些视图充当设置，巧妙地操纵了观众对所呈现历史的判断，以公正地呈现佛罗伦萨的美第奇统治。在萨拉·科西莫一世（Sala di Cosimo I）中，城市肖像庆祝公爵的设防计划，以保护和凝聚托斯卡纳州。无论是在整个装饰计划中，还是在整个装饰计划中，城市油画都可以增强人们对公爵统治地位的信念。

著录项

  • 作者

    Gregg, Ryan E.;

  • 作者单位

    The Johns Hopkins University.;

  • 授予单位 The Johns Hopkins University.;
  • 学科 Art History.;Architecture.;History of Science.
  • 学位 Ph.D.
  • 年度 2009
  • 页码 675 p.
  • 总页数 675
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 艺术史、艺术思想史;自然科学史;建筑科学;
  • 关键词

  • 入库时间 2022-08-17 11:37:41

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