tag:blogger.com,1999:blog-40047672587343182622024-03-14T04:43:53.297-04:00EMULATIONto match or surpass (a person or achievement), typically by imitation;
from Latin aemulat- 'rivaled, equaled,' from the verb aemulari, from aemulus 'rival' —OEDEmulatiohttp://www.blogger.com/profile/11773405982717176805noreply@blogger.comBlogger102125tag:blogger.com,1999:blog-4004767258734318262.post-28321309328313874032017-06-28T16:26:00.000-04:002017-06-28T16:26:17.018-04:00A Conference of Good Intentions<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: 'Times New Roman';"><span style="color: #990000; font-size: x-large;">ROWE ROME 2017</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk2qi53T8CjaE08TZnFXzWgh7t5xE9vU07Py4zuxz92u-tU7LTdK5DjelSga2V3vH-F5uXG3LSsJAv5wo4ILOtzPigmW_rapxhkWeSuf5JJeUtfvfULTJ6LeW6cKz_eK57s77ydHEUCsE/s1600/acqua_paola_morningweb.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="414" data-original-width="774" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk2qi53T8CjaE08TZnFXzWgh7t5xE9vU07Py4zuxz92u-tU7LTdK5DjelSga2V3vH-F5uXG3LSsJAv5wo4ILOtzPigmW_rapxhkWeSuf5JJeUtfvfULTJ6LeW6cKz_eK57s77ydHEUCsE/s400/acqua_paola_morningweb.jpg" width="400" /></a></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">I recently had the opportunity to present a talk at the <a href="https://colinroweconference2017.wordpress.com/">Colin Rowe conference in
Rome</a>; I spoke on my research for my chapter on the Baroque City in the
forthcoming <i style="mso-bidi-font-style: normal;">Oxford Handbook of the
Baroque</i>, looking at the ways Rome influenced disparate cities and cultures
across Europe in the seventeenth and early eighteenth centuries. I was in one
of three parallel sessions during the second of three days of presentations (the
full trifecta requiring more stamina than I could muster). The parallel
sessions, their titles notwithstanding, were dedicated to practice, history,
and teaching. Now, Colin Rowe was an historian who taught architectural design;
and if nothing else, Colin (who, unhappily no doubt for him, was my professor
in Rome many years ago) made history relevant to practice when Modernism said
it had no place. And if he succeeded only briefly—history is again on the wane,
even more than it was in the sixties—Colin would have found the separation into
three rooms just a little bizarre. What would have troubled him most, I think,
is the notion that the New Urbanists presenting their practices presumed all
the historical questions have been answered: we’ve got that history component
figured out, let’s build! To anyone who’s spent any time reading Colin’s
writing, the notion that the problem of history is a settled case has got to
seem decidedly un-Rowian. Colin’s whole method, and certainly his rhetorical
style, was to posit possibilities, intriguing potentialities that just might
yield some interesting things, if only one would give them a try. That sense
that architecture was a constant experiment, a particularly English tinkerer’s
approach to improving things, is one way that he was firmly rooted in
Modernism. Deeply suspicious of claims for perfection, much less for the
delights of Utopia, he could never accept the classical academic notion of
synthesis. He was much more interested in juxtaposition.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">So,
then, what is it that the New Urbanists think has been settled about history?
Judging by both the work and the rhetoric, the only history that has anything
to offer began roughly around the time that suburbs started in the nineteenth
century, and ended sometime around the Second World War. A rather narrow slice
of the historical record, it has the advantages of not challenging too much the
largely banal results of the Modernist revolution. Why look at Filippo Juvarra
in Torino when you’ve got Raymond Unwin in Letchworth? If you’re satisfied with
competent infill, pre-War suburban densities, and some mixed-use, the heritage
of the great cities of Europe at their best </span><span style="font-family: 'Times New Roman';">(and still, by the way, thriving)</span><span style="font-family: 'Times New Roman';">, not
reduced to their lowest common denominator, is irrelevant (if subliminally threatening).
Driverless cars are apparently more compelling than the effects of carriages on
Baroque Paris. So, let the “historians” (we were, in fact, mostly architects)
talk about Renaissance Rome and seventeenth-century Amsterdam. We certainly
didn’t draw the crowds, because there was no profit to be had in our
retro-room. Still, I can’t avoid an image of Colin’s ghost at the whole event,
perhaps not excessively troubled, but no doubt rather bored.</span></div>
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Emulatiohttp://www.blogger.com/profile/11773405982717176805noreply@blogger.com0tag:blogger.com,1999:blog-4004767258734318262.post-3028600134527339522017-05-12T13:38:00.000-04:002017-05-12T13:38:48.275-04:00The Joy of Experimenting with Traditional Techniques<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: 'Times New Roman';"><span style="color: #b45f06; font-size: x-large;"><i>Graduating
to Sheepskin</i></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhth192jneC7pBnNUgf53RIlqWFbc1jnI1OCQ-15oY14QuPbhpCmdqAx2Y1zM1THx9IIhmG4Un7NbEfHkitTSGMisBhbXjZZB4vDvMp-ileUjbSP1AIK2_g_cWzNWYAmb3NN0EVh0jWONk/s1600/pergamena-cornice_blueweb.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhth192jneC7pBnNUgf53RIlqWFbc1jnI1OCQ-15oY14QuPbhpCmdqAx2Y1zM1THx9IIhmG4Un7NbEfHkitTSGMisBhbXjZZB4vDvMp-ileUjbSP1AIK2_g_cWzNWYAmb3NN0EVh0jWONk/s320/pergamena-cornice_blueweb.jpg" width="228" /></a></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Only
in Florence. <a href="http://www.zecchi.it/" target="_blank">Zecchi</a>, on the via dello Studio, is one of the world’s great art
supply shops. Not necessarily because of the quantity of goods on display (it’s
actually rather small, just one room), but for the quality of the traditional
media available and the knowledge of the proprietors. Having supplied the raw
material for generations of artists working in traditional media like egg
tempera and fresco (I’ve bought my pigments for fresco here since I studied
with maestro Leonetto Tintori in 1989), they’ve taken to packaging their own
paints in egg tempera and oil, along with all the exotic ingredients for
working in traditional media. Stopping in a couple of weeks ago, and having had
for a while an interest in experimenting with the gouache on vellum (sheepskin)
techniques of 18<sup>th</sup> century artists like Marco Ricci, I asked for a
sheet of <i style="mso-bidi-font-style: normal;">pergamena</i> (sheepskin or
vellum), and was conducted (for the first time in my experience) to a back
storeroom where they stored, among many, many other things, a roll of
sheepskins—yes, the skins of sheep, laid out looking like the headless and
legless bodies of sheep. I learned that <i style="mso-bidi-font-style: normal;">pergamena</i>
was treated in a way that tended to make the top surface water-resistant, so
for the watermedia I intended to use I needed to treat it with ox gall (<i style="mso-bidi-font-style: normal;">fiele di bue</i>), the bile of an ox’s
gallbladder; Zecchi sells it under their own label. To some this bilious media
might be old news, but for me it had the ring of the ancient and exotic about
it. I learned later (online) that it had some interesting properties for
watercolor painting; its role with sheepskin is to make the surface able to
accept or bond watermedia like gouache.<o:p></o:p></span></div>
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">What
actually spurred this interest in gouache on vellum was an elegant little
bronze frame I’d bought months earlier in Florence at the remarkable shop of <a href="http://www.ducciobanchibronzista.it/it/chi-siamo.html" target="_blank">Duccio Banchi</a> on
the via del Serraglio in the Oltrarno. Father and son still make these refined
bronze frames and decorative objects, and the one I’d purchased seemed to call
for something appropriately delicate and classical. I worked out a series of
subjects based on 18<sup>th</sup> century capricci, in monochrome, and gave
them my own spin by treating the scenes as narratives, of a kind (I’ll leave it
to you to read them). Letting a bit of the vellum read through gives the
grisailles a warm aspect. The images here show the process from the raw
sheepskin to a smaller section prepared with ox gall to the painting of the
scenes, <i style="mso-bidi-font-style: normal;">Diana at Her Bath</i> and <i style="mso-bidi-font-style: normal;">Hercules at the Crossroads</i>.<o:p></o:p></span></div>
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Emulatiohttp://www.blogger.com/profile/11773405982717176805noreply@blogger.com0tag:blogger.com,1999:blog-4004767258734318262.post-6102265131151096852017-04-19T15:24:00.000-04:002017-04-19T15:44:34.714-04:00Lost, Found, and Made<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2-bN3xIEmG5Ynp_w1AF28Cf4aG0dZ6JsflYLsd0t5vCTGLaBAFmLfH38QUxOyqWLCnNwRXh7oWPT28BCeuprHltXBALcFW5u7nmLfnK1p_sOrS8b_Pmp358d5sYNw1X0T05ODqSj5M90/s1600/cast002.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2-bN3xIEmG5Ynp_w1AF28Cf4aG0dZ6JsflYLsd0t5vCTGLaBAFmLfH38QUxOyqWLCnNwRXh7oWPT28BCeuprHltXBALcFW5u7nmLfnK1p_sOrS8b_Pmp358d5sYNw1X0T05ODqSj5M90/s320/cast002.jpg" width="320" /></a></div>
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<span style="color: #990000; font-family: "times" , "times new roman" , serif; font-size: x-large;"><i>On
Sketchbooks</i></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman"; mso-bidi-font-size: 12.0pt;">I RECENTLY MISPLACED A SKETCHBOOK. Not one of my more precious ones, it was small
and pocketable enough to bring with me without a backpack and a pack of
sanguine pencils. A paper Moleskin, I treated it as less precious, which is why
I drew in it with ordinary graphite, which I always have in my pocket. Not that
I was cavalier about it, and misplacing a sketchbook is, for those of us who
rely on them, a constant background fear. So not finding it on a day when I
wanted to take it with me, I rifled through my two backpacks, jacket pockets,
piles of books, to no avail. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<i><span style="font-family: "times new roman"; mso-bidi-font-size: 12.0pt;">After
a week I’d gotten used to the idea that I’d lost it; or maybe it was stolen,
certainly not for its own sake but because pickpockets are rife in Rome. But
coming to Lucca for Easter I put on a warmer jacket for the Vigil mass, and
there it was, grazie Dio. I then remembered that I’d brought it to show the
shop where I was having a new leather-bound sketchbook made. Several years ago,
before we bought an apartment in Lucca, I was in town with my students and
found a leather shop that made beautiful books with </span><a href="http://www.anticacartiera.it/"><span style="font-family: "times new roman"; mso-bidi-font-size: 12.0pt;">handmade Amalfi paper</span></a></i><span style="font-family: "times new roman"; mso-bidi-font-size: 12.0pt;"><i>. After working
in it for years mostly in sanguine, occasionally adding black chalk, it was
nearing its last pages and I was ready for a new one. </i><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy0FwuIpP7r90-nGyJ3cNrqooG5quLXJyPC2yFcnKJXlpUsInqJSurgoYW6f-li1wNZfqeEPfzJ5kWxK8NUdq6J8nvvk0J2_BTlmfaqaWC5ab05kGEQ84LygS0HlTbrk0oZakYwA7jz94/s1600/new-sketchbook.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy0FwuIpP7r90-nGyJ3cNrqooG5quLXJyPC2yFcnKJXlpUsInqJSurgoYW6f-li1wNZfqeEPfzJ5kWxK8NUdq6J8nvvk0J2_BTlmfaqaWC5ab05kGEQ84LygS0HlTbrk0oZakYwA7jz94/s320/new-sketchbook.jpg" width="218" /></a></div>
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<span style="font-family: "times new roman"; mso-bidi-font-size: 12.0pt;">How
wonderful, in this plastic, mass-produced or outsourced world, to have
something like this made for you. </span><a href="http://capuozzo.it/en/"><span style="font-family: "times new roman"; mso-bidi-font-size: 12.0pt;">Officina della
Pelle</span></a><span style="font-family: "times new roman"; mso-bidi-font-size: 12.0pt;">
is a thriving shop, actually three, in Lucca that makes a variety of leather
goods. When you begin using a sketchbook I would advocate using an un-precious
one, so as not to be intimidated when drawing, afraid to make a mistake. But
when the habit becomes a pleasure, and the work in the book reaches a quality
that merits it, a lovely book is actually a spur to drawing even better—and
lately, for me, more adventurously.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "times new roman"; mso-bidi-font-size: 12.0pt;"><i>The
food world has been remarkably successful in the last few decades at promoting
local and organic food—from produce to cheeses. In the arts we’ve been less
good at supporting paper makers, book binders, and other craftspeople who make
the “ingredients” artists need to measure up to the past. So, if you know one,
indulge in spending a little more to have a book made, to use handmade paper,
or work with traditionally-made oil paints. If you don’t, they will most surely
be lost, and much harder to recover than my lost sketchbook.<o:p></o:p></i></span><br />
<span style="font-family: "times new roman"; mso-bidi-font-size: 12.0pt;"><i>*********</i></span><br />
<span style="font-family: "times new roman"; mso-bidi-font-size: 12.0pt;"><i><br /></i></span>
<span style="font-family: times new roman;">A recent plein air watercolor from </span><span style="font-family: "times new roman";">Lucca</span><span style="font-family: times new roman;"> at <a href="http://pleinairitaly.blogspot.it/2017/04/watercoloring-under-influence.html" target="_blank">pleinairitaly</a></span></div>
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<span style="font-family: "times new roman"; mso-bidi-font-size: 12.0pt;"><i>SKETCHING AT THE VILLA REALE, MARLIA, LUCCA</i></span></div>
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Emulatiohttp://www.blogger.com/profile/11773405982717176805noreply@blogger.com0tag:blogger.com,1999:blog-4004767258734318262.post-89467428293268308422017-03-09T14:29:00.000-05:002017-03-12T16:57:44.470-04:00Less of a Challenge: UPDATE<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #0b5394; font-family: "times" , "times new roman" , serif; font-size: x-large;"><i>The Challenge of Emulation Coming Way Down in Price</i></span><span style="font-family: "times new roman";"><o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Publishing
with an academic-oriented publisher like Ashgate (now Routledge) has its
advantages, primarily that one can make a properly academic argument without
being challenged as to whether it is “accessible” enough. The downside, though,
is that the relative disinterest in accessibility means that the market for the
books is rather small, and so the publisher’s business model is to market the
book in relatively small quantities at a high price to university libraries and
others who can afford to pay. Not being a publisher myself, I wonder whether
the high price is the chicken or the egg with regard to low sales. It is what
it is, as they say.<b> Now, though, it appears on the Routledge website that <i><a href="https://www.routledge.com/The-Challenge-of-Emulation-in-Art-and-Architecture-Between-Imitation-and/Mayernik/p/book/9781409457671" target="_blank">The Challenge of Emulation</a></i> will be out in paperback before long, and is available for pre-order</b>, which means, I hope, that the artists and architects for whom
it was largely written can now afford to buy it.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><i style="mso-bidi-font-style: normal;">Lege Feliciter</i>, as Alberti
said to his readers.</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">David</span><span style="font-family: "times new roman";"><o:p></o:p></span></div>
</div>
Emulatiohttp://www.blogger.com/profile/11773405982717176805noreply@blogger.com0tag:blogger.com,1999:blog-4004767258734318262.post-78101358102096579112016-09-22T15:19:00.000-04:002016-09-22T15:19:32.859-04:00TMI: Point Clouds and Clouded Points<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: 'Times New Roman';"><i><span style="color: #134f5c; font-size: x-large;">Physics
Envy and Archaeology Today</span></i></span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjldUo-jC9yxH1xl5YdPnSZBcS-3_Ukwx0c9Z3jsriB-M0XOpQtxQxeV49hr4Z9A3D0PmJwWAY0g8rlX8ZdEW6cslBtebnWSLU-2UFuXe8fGvTmxdKw4xDWDXy3_Yy6dM9hhHFAsyZNGE4/s1600/cecilia-from-marcellus_ptgJul16.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjldUo-jC9yxH1xl5YdPnSZBcS-3_Ukwx0c9Z3jsriB-M0XOpQtxQxeV49hr4Z9A3D0PmJwWAY0g8rlX8ZdEW6cslBtebnWSLU-2UFuXe8fGvTmxdKw4xDWDXy3_Yy6dM9hhHFAsyZNGE4/s400/cecilia-from-marcellus_ptgJul16.jpg" width="400" /></a></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">I
presented a talk at a conference about Architecture and Archaeology on the via
Appia on 10 September.<span style="mso-spacerun: yes;"> </span>“The Archaeology
of Invention” was meant to suggest how, and why, we might recover a productive
relationship between architecture and archaeology.<span style="mso-spacerun: yes;"> </span>Not being an archaeologist in the modern
sense myself, but interested in ancient buildings, I thought it was useful to
posit some questions about why as a culture we do archaeology at all (the
ancients didn’t, neither did the medievals), what it has to do with the making
of architecture, and what might be a kind of ideal archaeological landscape. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 0.5in;">
<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Piranesi figured large in the talk, based
on a quote by the artist that furnished the title for John Pinto’s recent book,
</span><i style="mso-bidi-font-style: normal;"><span style="font-family: "Book Antiqua";">Speaking
Ruins: Piranesi, Architects, and Antiquity in Eighteenth Century Rome</span></i><span style="font-family: "Book Antiqua";"> (Michigan</span><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">). I rendered the quote in English
slightly differently than Pinto’s source; here’s my reading:<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">They’ve filled my spirit, these speaking
ruins, in ways that drawings could never have been able to do—even very
accurate ones, likes those made by the immortal Palladio, which I have still
kept before my eyes.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Pinto
summarizes what was so different between Piranesi’s day and ours:<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">In the eighteenth century there was a
reciprocal relationship between the act of archaeological reconstruction and
the practice of modern architecture.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 0.5in; text-align: justify;">
<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Pinto, p. 42<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">and<o:p></o:p></span></i></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">In fact, Piranesi encouraged what he
called “<i style="mso-bidi-font-style: normal;">ragionevole congettura</i>,” or
responsible [I might say ‘reasonable’] conjecture. In the introduction to the <i style="mso-bidi-font-style: normal;">Antichità romane</i>, Piranesi expressed the
hope that his prints would stimulate “<i style="mso-bidi-font-style: normal;">una
nuova architettura antica</i>.”<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 0.5in; text-align: justify;">
<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Pinto, p. 8<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Confronted
by the ruined majesty of ancient Rome, architects and artists from the
fifteenth through at least the eighteenth century weren’t intimidated, they
were inspired. Not so, apparently, today’s archaeologists. After my keynote
some of the talks dealt with the latest digital surveying technology, point
clouds and 3D models. Fair enough. But those speakers felt compelled to define
themselves as engaged in <i style="mso-bidi-font-style: normal;">knowledge</i>,
of the scientifically verifiable kind (as opposed to, of course, art, or
matters of judgment); one even cited Karl Popper’s falsifiability definition of
science. But these surveyors are engaged in the collection of data, not
proposing the theories that Popper was trying to qualify. Data, of course, can
be falsified, but is not in and of itself a falsifiable theory. It simply is. Of
course, there is better data. But the question, it seems to me, is what to do
with the data beyond determining which splotch on a ruin needs to be cleaned?
Should whole sections of aqueducts be rebuilt in part to stabilize them but
also to restore their place in the landscape? How much of stub walls from a
Roman circus should be rebuilt to give a better sense of what the place once
was like?<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>These questions raise problems of
conjecture, and risk. “Science,” of the data collection kind, is risk free. And
it’s certainly more comfortable to be in the technologically determinant world
of data gathering than in the wilds of artistic conjecture. But every choice
about the archaeological landscape is a judgment, not a fact. To rebuild or
not, to restore or not, is not, as one of the speakers suggested, a question of
cost and efficiency. It is a question of why we do archaeology at all, what it
is the past has to say to us, and what we have to say in response.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZFJC0P-OZR7CjuEfoNJPhkw2rydkwBnZ1lskQjKivPUBgNxUAQL-9eOLHQoA-S6aG0MdYNzUlSA-98CBYR-vZUfxnnomc6cl8rX6tNil0QG1vOgtfR9cGLdMQmCXI15wb2waRn2u-N7E/s1600/Capriccio_Massenzio_web.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZFJC0P-OZR7CjuEfoNJPhkw2rydkwBnZ1lskQjKivPUBgNxUAQL-9eOLHQoA-S6aG0MdYNzUlSA-98CBYR-vZUfxnnomc6cl8rX6tNil0QG1vOgtfR9cGLdMQmCXI15wb2waRn2u-N7E/s400/Capriccio_Massenzio_web.jpg" width="400" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: 'Times New Roman';">Thus, my capriccio on the Circus of
Maxentius. Thinking about what a reconstruction of the circus might be like, I
wondered about returning its spina’s obelisk from the Fountain of the Four
Rivers in Piazza Navona (the former Stadium of Domitian), but bringing the
fountain back along with it. To restore is, in its way, to contaminate; why not
embrace the contamination, aiming not for philological reconstruction but a
kind of fertile reinsertion of the scattered remains with the baggage they’d
acquired in the intervening centuries? So too Cecilia Metella, which I show
restored with its tumulus and cypresses but retaining its medieval battlements.
And the </span><i style="font-family: 'Times New Roman';">carceres</i><span style="font-family: 'Times New Roman';">, or starting gates,
of the Circus get restored in a Borriminian vein to recall the Pamphilj context
of the Four Rivers.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>A serious proposal? No, nor is it
scientific. But it would be a vastly pleasanter place, with its pool fed by the
nearby Almone river cooling the otherwise desiccated landscape of the current
circus (it was awfully hot and dry trudging around there and drawing and
painting this summer). And if a great Roman family of an earlier century had
acquired the property and had the means they might have done something similar.
By instead displaying the desiccated cadaver of a late Imperial villa as
somehow a scientific fact rather than an aesthetic landscape we lose the chance
to dream, to invent in a way like Piranesi and his predecessors would have. And
we are, whether we can admit it or not, the poorer for it. That is a fact.<o:p></o:p></span></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
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<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
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<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
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Emulatiohttp://www.blogger.com/profile/11773405982717176805noreply@blogger.com0tag:blogger.com,1999:blog-4004767258734318262.post-29734451499689459832016-08-28T09:13:00.001-04:002016-08-28T09:44:34.486-04:00Where Do Ideas Come From II<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "times new roman";"><span style="color: #990000; font-size: x-large;">Archaeology
<i>and</i> Architecture</span></span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxgOsMUL-kg-bOddnNwPRlqVWz_4Z8rIpzGTdMTyq5grv2YfM1m-3hE8iUZJJlw65LM26Sr17PYNtfneQvoT11wHZ8WDFTLrM6g-QvJ_pGSOguNDMRhMvuTbb_1ArWiVi-r53_DuJlFug/s1600/tomb-of-cecilia-metella.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxgOsMUL-kg-bOddnNwPRlqVWz_4Z8rIpzGTdMTyq5grv2YfM1m-3hE8iUZJJlw65LM26Sr17PYNtfneQvoT11wHZ8WDFTLrM6g-QvJ_pGSOguNDMRhMvuTbb_1ArWiVi-r53_DuJlFug/s320/tomb-of-cecilia-metella.jpg" width="320" /></a></div>
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<span style="font-family: "times new roman"; mso-bidi-font-size: 12.0pt;">On
Saturday 10 September I’ll be speaking at a conference about the via Appia, on
the via Appia. <a href="http://www.paesaggioarcheologico.info/index.php?option=com_content&task=view&id=76&Itemid=49">Reconsidering
Architecture and Archaeology</a> is the end of a weeklong summer school looking
at the archaeological landscape. My talk will be “The Archaeology of Invention:
Excavating Ideas,” and will interpret the nature and purpose of archaeology in
light of older notions of their relationship. For Piranesi, </span><span style="font-family: "times new roman";">“They’ve filled my spirit these speaking
ruins, in ways that drawings could never have been able to do, even very
accurate ones, likes those made by the immortal Palladio, which I have still
kept before of my eyes.” As the historian John Pinto says in his book <i style="mso-bidi-font-style: normal;">Speaking Ruins: Piranesi, Architects, and Antiquity
in Eighteenth Century Rome</i>, “In the eighteenth century there was a
reciprocal relationship between the act of archaeological reconstruction and
the practice of modern architecture.” [p. 42] And, “In fact, Piranesi
encouraged what he called ‘<i style="mso-bidi-font-style: normal;">ragionevole
congettura</i>,’ or responsible [reasonable?] conjecture. In the introduction
to the <i style="mso-bidi-font-style: normal;">Antichità romane</i>, Piranesi
expressed the hope that his prints would stimulate ‘<i style="mso-bidi-font-style: normal;">una nuova architettura antica</i>.’” [Pinto, p. 8]<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "times new roman";">I’ve been
posting on my blog Plein Air Italy some of the work I’ve done on site in Rome
over the summer, and <a href="http://pleinairitaly.blogspot.com/2016/08/cecilia-metella-and-picturesque.html">this</a>
most recent post deals with the place I will focus on in my talk: the tomb of
Cecilia Metella as seen from the Circus of Maxentius. I’ll be interpreting the
archaeological landscape as both a real place and an intellectual construct. I’ll
look at the ways that landscape has inspired in the past (from plein air
painting to capricci to the making of architecture), and how it might do so for
us today. For that to happen we need, if not a literal connection with the
forms of the past, at the very least a sympathy for their beauty and intention,
for their construction and articulation, in order to build in a way that is
sympathetic and equally inspiring. This obtains also for the landscape within
which the ruins find themselves. Too often today those fragments in the
landscape have been laid out “like a patient etherized upon a table,” to quote
T. S. Elliot. They are dissected and desiccated, displayed rather than discovered.
The old notion of invention as discovery is partly predicated on the power of
ruins to inspire in no small way because of how they are situated in the landscape,
including the landscape of our minds.<o:p></o:p></span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-EjWn_6OVfjVcTFx04oTALG0Zuq5hyphenhyphen3BIg7y6vSiY9hBb0FrgGHD75IFMnqiJR-1WB9gMlqSobaaijphZw-iVlrLLmIz7EBqPVtqrCstDNIbrnMFsOX5ys7HOSSn41AitQSGDAEpTWiw/s1600/Capriccio_Massenzio_web.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-EjWn_6OVfjVcTFx04oTALG0Zuq5hyphenhyphen3BIg7y6vSiY9hBb0FrgGHD75IFMnqiJR-1WB9gMlqSobaaijphZw-iVlrLLmIz7EBqPVtqrCstDNIbrnMFsOX5ys7HOSSn41AitQSGDAEpTWiw/s320/Capriccio_Massenzio_web.jpg" width="320" /></a></div>
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<span style="font-family: "times new roman";">The image shown
here is a capriccio I intend to show how, in an allegorical way, one might rethink
the landscape of the via Appia. I’ll have more to say about it after the
conference…<o:p></o:p></span></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" Priority="0" SemiHidden="true"
UnhideWhenUsed="true" Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
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Emulatiohttp://www.blogger.com/profile/11773405982717176805noreply@blogger.com0tag:blogger.com,1999:blog-4004767258734318262.post-37172168165014988312016-08-28T09:13:00.000-04:002016-08-28T09:14:25.265-04:00Where Do Ideas Come From II<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman";"><span style="color: #990000; font-size: x-large;">Archaeology
<i>and</i> Architecture</span></span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxgOsMUL-kg-bOddnNwPRlqVWz_4Z8rIpzGTdMTyq5grv2YfM1m-3hE8iUZJJlw65LM26Sr17PYNtfneQvoT11wHZ8WDFTLrM6g-QvJ_pGSOguNDMRhMvuTbb_1ArWiVi-r53_DuJlFug/s1600/tomb-of-cecilia-metella.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxgOsMUL-kg-bOddnNwPRlqVWz_4Z8rIpzGTdMTyq5grv2YfM1m-3hE8iUZJJlw65LM26Sr17PYNtfneQvoT11wHZ8WDFTLrM6g-QvJ_pGSOguNDMRhMvuTbb_1ArWiVi-r53_DuJlFug/s320/tomb-of-cecilia-metella.jpg" width="320" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman"; mso-bidi-font-size: 12.0pt;">On
Saturday 10 September I’ll be speaking at a conference about the via Appia, on
the via Appia. <a href="http://www.paesaggioarcheologico.info/index.php?option=com_content&task=view&id=76&Itemid=49">Reconsidering
Architecture and Archaeology</a> is the end of a weeklong summer school looking
at the archaeological landscape. My talk will be “The Archaeology of Invention:
Excavating Ideas,” and will interpret the nature and purpose of archaeology in
light of older notions of their relationship. For Piranesi, </span><span style="font-family: "times new roman";">“They’ve filled my spirit these speaking
ruins, in ways that drawings could never have been able to do, even very
accurate ones, likes those made by the immortal Palladio, which I have still
kept before of my eyes.” As the historian John Pinto says in his book <i style="mso-bidi-font-style: normal;">Speaking Ruins: Piranesi, Architects, and Antiquity
in Eighteenth Century Rome</i>, “In the eighteenth century there was a
reciprocal relationship between the act of archaeological reconstruction and
the practice of modern architecture.” [p. 42] And, “In fact, Piranesi
encouraged what he called ‘<i style="mso-bidi-font-style: normal;">ragionevole
congettura</i>,’ or responsible [reasonable?] conjecture. In the introduction
to the <i style="mso-bidi-font-style: normal;">Antichità romane</i>, Piranesi
expressed the hope that his prints would stimulate ‘<i style="mso-bidi-font-style: normal;">una nuova architettura antica</i>.’” [Pinto, p. 8]<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman";">I’ve been
posting on my blog Plein Air Italy some of the work I’ve done on site in Rome
over the summer, and <a href="http://pleinairitaly.blogspot.com/2016/08/cecilia-metella-and-picturesque.html">this</a>
most recent post deals with the place I will focus on in my talk: the tomb of
Cecilia Metella as seen from the Circus of Maxentius. I’ll be interpreting the
archaeological landscape as both a real place and an intellectual construct. I’ll
look at the ways that landscape has inspired in the past (from plein air
painting to capricci to the making of architecture), and how it might do so for
us today. For that to happen we need, if not a literal connection with the
forms of the past, at the very least a sympathy for their beauty and intention,
for their construction and articulation, in order to build in a way that is
sympathetic and equally inspiring. This obtains also for the landscape within
which the ruins find themselves. Too often today those fragments in the
landscape have been laid out “like a patient etherized upon a table,” to quote
T. S. Elliot. They are dissected and desiccated, displayed rather than discovered.
The old notion of invention as discovery is partly predicated on the power of
ruins to inspire in no small way because of how they are situated in the landscape,
including the landscape of our minds.<o:p></o:p></span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-EjWn_6OVfjVcTFx04oTALG0Zuq5hyphenhyphen3BIg7y6vSiY9hBb0FrgGHD75IFMnqiJR-1WB9gMlqSobaaijphZw-iVlrLLmIz7EBqPVtqrCstDNIbrnMFsOX5ys7HOSSn41AitQSGDAEpTWiw/s1600/Capriccio_Massenzio_web.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-EjWn_6OVfjVcTFx04oTALG0Zuq5hyphenhyphen3BIg7y6vSiY9hBb0FrgGHD75IFMnqiJR-1WB9gMlqSobaaijphZw-iVlrLLmIz7EBqPVtqrCstDNIbrnMFsOX5ys7HOSSn41AitQSGDAEpTWiw/s320/Capriccio_Massenzio_web.jpg" width="320" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman";">The image shown
here is a capriccio I did to show, in an allegorical way, how one might rethink
the landscape of the via Appia. I’ll have more to say about it after the
conference…<o:p></o:p></span></div>
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Emulatiohttp://www.blogger.com/profile/11773405982717176805noreply@blogger.com0tag:blogger.com,1999:blog-4004767258734318262.post-14170025051307337102016-07-16T04:53:00.000-04:002016-07-16T04:53:33.158-04:00Where Do Ideas Come From?<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: 'Times New Roman';"><i><span style="color: #990000; font-size: x-large;">Or, Is There Such a Thing as Classical
Creativity?</span></i></span></div>
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<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQKP7Ogu-BefjWIViqGjAKTupyD87JwBchyphenhyphenCX-bWu4g5RNHlagJQNCyR_Gi2-tcqrYfkzqr_SBJ1QHA2zxxNSysoD1xDn1MaVPPk9_bLJgb4eS3_gKmRfZGIiXQRj-FzqPzTurIPNJglo/s1600/druso_7vi16.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQKP7Ogu-BefjWIViqGjAKTupyD87JwBchyphenhyphenCX-bWu4g5RNHlagJQNCyR_Gi2-tcqrYfkzqr_SBJ1QHA2zxxNSysoD1xDn1MaVPPk9_bLJgb4eS3_gKmRfZGIiXQRj-FzqPzTurIPNJglo/s320/druso_7vi16.jpg" width="254" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><i>So-called Arch of Drusus, Rome</i></span></td></tr>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">My interest in emulation was as an
antidote to the modern compulsion for imitation among classicists, a defeatist
attitude motivated by longing for lost glories and the lack of ability to reach
them again without directly replicating them. Emulation, <a href="https://www.routledge.com/The-Challenge-of-Emulation-in-Art-and-Architecture-Between-Imitation-and/Mayernik/p/book/9781409457671" target="_blank">I’ve argued</a>, was
actually the dominant mode of classical artists and architects vis-à-vis their
forebears; imitation was for novices and amateurs. At least until the late
eighteenth century.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">But emulation, I argued in my book, was
mostly an aspect of formal rivalry; Renaissance artists and architects strove,
beyond that, to be intellectually inventive—novel, “creative,” capable of </span><a href="https://books.google.it/books?id=vpHYYFFMjt8C&pg=PA284&lpg=PA284&dq=vasari+bizzarrie&source=bl&ots=x6xo0JTSQh&sig=K6M42Z8w6S_OMkLieWwM4rVAXwQ&hl=it&sa=X&ved=0ahUKEwjUuo_Bm_bNAhUILZoKHdWHCscQ6AEISDAH#v=onepage&q=vasari%20bizzarrie&f=false"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">bizzarrie</span></i></a><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"> and extending the tradition. Neither
conservative nor nostalgic, the Renaissance was an optimistic time that
privileged invention, that fecund word that they would have used instead of our
word creativity, because they would have said only God can be creative (making
something out of nothing). What we humans can do is invent, discover, find
ideas. Not rehash old ideas, but find new ways of thinking by digging into the
past, revivifying the past by reinterpreting it. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">In architecture the evolution of forms
and types was primarily motivated by meaning. The Romans combined their older
triumphal vaulted passage (fornix) with triumphal columns to create a new type,
the arcus, during the time of Augustus. The accumulation of typologically
legible elements—vault/arch and column—yielded a more complex meaning and
created a new type. One hears occasionally in classicist circles of the “fornix
motif,” but the thing being described—a trabeated surround to an arch—was
neither proper to a fornix nor was it a motif. The triumphal arch (arcus) more
commonly deployed columns en ressaut, emphasizing their autonomy as
freestanding columns, not part of a bay-spanning system. Here’s a short video
I’ve created illustrating the evolution of the type:<o:p></o:p></span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/jy3UQX2NaV4/0.jpg" src="https://www.youtube.com/embed/jy3UQX2NaV4?feature=player_embedded" frameborder="0" allowfullscreen></iframe></div>
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<br /></div>
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<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzbKhpXlsPajcggyoMh4dzAaDehhuXaya42UVCKSbKBsgg3nmhgtDWNdjjp0N8XroRG4naqYgU-O26vC3G6qVp4RBN0xaf161zL9rDD7zfC4czD_ObExULuwOphc2orzPZtJV4Lyn6kJs/s1600/marcellus_from-campidoglio.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzbKhpXlsPajcggyoMh4dzAaDehhuXaya42UVCKSbKBsgg3nmhgtDWNdjjp0N8XroRG4naqYgU-O26vC3G6qVp4RBN0xaf161zL9rDD7zfC4czD_ObExULuwOphc2orzPZtJV4Lyn6kJs/s320/marcellus_from-campidoglio.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><i>The Theater of Marcellus Seen from the Campidoglio</i></span></td></tr>
</tbody></table>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">What is called a “fornix motif” should
really be known as a “theater system,” since it was in fact proper to the
façades of Roman theaters (and amphitheaters), and it formed not so much a
motif (a detachable, discrete ornamental form) as a repetitive system of
articulation. This too was a Roman invention. And both the nature of the
triumphal arch and the theater façade were clearly understood by Renaissance
architects who developed a properly linguistic use of classical
forms—systematic, articulate, meaningful—to invent a new kind of architecture,
capable of evolution while remaining legible and expressive.</span></div>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgetGcin_vK6mMlBGsX3w9Fa4Nt8ah1rVXFFAJS6r-bT10y5XU6yUL5entAdMOqfNglNoMhaf3k46zWc9OClhzuGaSwdsVAh1lYUWgzQjCLnhex00qzqyNhLCLH9WSBpwWRzcmIrcOisbM/s1600/porta-savonarola.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgetGcin_vK6mMlBGsX3w9Fa4Nt8ah1rVXFFAJS6r-bT10y5XU6yUL5entAdMOqfNglNoMhaf3k46zWc9OClhzuGaSwdsVAh1lYUWgzQjCLnhex00qzqyNhLCLH9WSBpwWRzcmIrcOisbM/s320/porta-savonarola.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><i>Porta Savonarola, Padova, by G. M. Falconetto</i></span></td></tr>
</tbody></table>
<o:p></o:p><br />
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">That is what we lost with neo-classicism
and the Beaux Arts, and what we need to recover if we really want a renaissance
today. It takes careful looking at the past, careful reading of the best
historians, and the recovery of skills that the artists of the Renaissance had.
An act of will, in other words.<o:p></o:p></span></div>
</div>
Emulatiohttp://www.blogger.com/profile/11773405982717176805noreply@blogger.com1tag:blogger.com,1999:blog-4004767258734318262.post-39774896561411600272016-06-01T06:16:00.000-04:002016-06-01T09:00:16.546-04:00Renaissance of Allegory<div dir="ltr" style="text-align: left;" trbidi="on">
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<i><span style="color: #783f04; font-family: "times" , "times new roman" , serif; font-size: large;">HOPE OVER EXPERIENCE II</span></i></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">In
a recent article in <i style="mso-bidi-font-style: normal;">Slate </i>(<a href="http://www.slate.com/articles/arts/books/2016/05/an_allegory_is_not_the_same_as_a_metaphor_in_praise_of_the_medieval_literary.html">“Save the Allegory!"</a>), Laura Miller makes a plea for deploying
the word allegory correctly in cultural criticism—in essence, contradicting the
recent tendency to call an “allegory” any film or book that can be interpreted
as a commentary on society or politics. <span style="mso-spacerun: yes;"> </span>As
she argues, allegory is not accidental, it is generative of the work; and
allegorical figures in literature are generally called out as such (Fortitude,
or Poliphilo—‘Lover of All Things’). She rightly reclaims allegory’s medieval
past, but here the deployment of the word “medieval” to describe anything
before the “modern” era is also problematic (but I’m not a fan either of
calling sixteenth-century art or literature “Early Modern”). The Middle Ages
were the middle centuries between the classical culture of antiquity and its
rebirth in the Renaissance. That may be a construct, but it’s a useful one, far
more coherent than folding the Renaissance and Baroque into the trajectory of
Modernism. Spenser’s <i style="mso-bidi-font-style: normal;">The Faerie Queene</i>
is not a medieval book, but neither is the <i style="mso-bidi-font-style: normal;">Hypnerotomachia
Poliphili</i>, written a century earlier (when Italy was fully in the
Renaissance while England, perhaps, did in fact remain “medieval”). This is not
to say, at the same time, that the Middle Ages were disconnected from
antiquity, nor that they weren’t prescient of the Renaissance (witness Dante):
see the still classic <a href="http://press.princeton.edu/titles/5558.html"><i style="mso-bidi-font-style: normal;">The Survival of the Pagan Gods</i></a> by Jean Seznec.<o:p></o:p></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8_RfUOtbR0dJkj6mY2Uxj-QMZlwaKbd3fw_g4M-g0b34xMVzcfwbKvTL2p4vio08oalXYQjAlR-K_wTb1-A8B2mN3HfuR8J2yckncmO45rtn59adIIB78SGDod90U_TSr0Kp0e4hB43A/s1600/hope-experience_2015-16.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8_RfUOtbR0dJkj6mY2Uxj-QMZlwaKbd3fw_g4M-g0b34xMVzcfwbKvTL2p4vio08oalXYQjAlR-K_wTb1-A8B2mN3HfuR8J2yckncmO45rtn59adIIB78SGDod90U_TSr0Kp0e4hB43A/s320/hope-experience_2015-16.jpg" width="238" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="text-align: justify;">
<i><span style="font-family: "georgia" , "times new roman" , serif;">The Triumph of Hope Over Experience<o:p></o:p></span></i></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">A version of an allegory that, <a href="http://emulatio.blogspot.it/2015/11/the-triumph-of-hope-over-experience.html">this time</a>, </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">implies some irony in Hope’s gestures: </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">she attempts to light an altar pyre, </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">but the green kindling generates smoke; </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">she pours water onto a dead tree stump; </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">her temples are greying</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">But
I’m especially interested in allegory in the visual arts, and in the wider
culture of the Renaissance and Baroque (like <a href="http://www.planethugill.com/2014/10/resurrecting-caldara-rarity.html">opera</a>, for example). I’m interested in it because it was formative
for that culture, but also because my interest in recovering the tools of that
culture means that I actually <a href="http://davidmayernik.com/mythallegory.html">practice</a>
it. In practicing allegory I’ve marginalized myself not only with respect to
mainstream modernist culture, but also with the ascendant neo-Realist
phenomenon (which <a href="http://davidmayernik.com/beautiful.html">I just can’t accept</a> calling “Classical Realism”). It’s a
marginal position because much of Modernism was predicated on the abolition of
allegory, beginning with literature; the Realist painter Courbet drove a stake
through its heart in the nineteenth century in the visual arts (even if
academic artists continued to practice an enfeebled version of it into the
early twentieth century). Both modernists and realists are still suspicious of,
if not opposed to, allegory. Perhaps, in the latter case, rightly
enough—there’s no stranger iteration of allegory than the one populated by ordinary,
realist (rather than idealized) figures.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">For
me, the critical thing is that allegory was not baggage appended to painting or
sculpture in the seventeenth century: it was formative, essential, causal. It
was not foisted on artists by pretentious patrons; instead, it was how artists themselves
thought and how they perceived the world. When the great Gianlorenzo Bernini
was in the midst of a brief period of being marginalized himself, he set to
work on an allegorical sculpture, <i style="mso-bidi-font-style: normal;">Truth
Revealed by Time</i>, both to comfort himself and to make an argument to his
marginalizers. Even his seemingly intimate and “realist” portrait of his lover
Costanza Buonarelli has been <a href="http://www.amazon.com/Berninis-Beloved-Portrait-Costanza-Piccolomini/dp/0300175272">recently interpreted</a> in, if not allegorical terms, at least
rhetorical ones.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Now,
mythologies can be interpreted allegorically without being intended as such—the
hero’s journey, the battle with brute nature, the overcoming of labors. These
can be credible allegorical readings because even in antiquity the myths were
understood to be messages (maybe not in Homer’s day, but certainly by Ovid’s). But
while Plutarch’s <i style="mso-bidi-font-style: normal;">Lives</i> may also
contain messages about exemplary behavior, the real people he describes are not
symbols or types, not gods or mythical heroes, but specific, individual
characters. They cannot take on the burden of allegories because they cannot
transcend their individual characteristics and stories—which Plutarch is at
pains to narrate as realistically as possible.<o:p></o:p></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMMLga3IkUoDn5P_EQCbfEvcD6Xdfd9RdIsQe1WIVy7lMHNlVolI9imDFCFyIVRpKs54miYEfu65Sj7GFqh-qPsXJIU9Um1TYfj_B7w5kE7XFb4XvxQaf4OsY7f1WDDKkqU9PNTrhF87Y/s1600/hope-expierence_dwg.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMMLga3IkUoDn5P_EQCbfEvcD6Xdfd9RdIsQe1WIVy7lMHNlVolI9imDFCFyIVRpKs54miYEfu65Sj7GFqh-qPsXJIU9Um1TYfj_B7w5kE7XFb4XvxQaf4OsY7f1WDDKkqU9PNTrhF87Y/s320/hope-expierence_dwg.jpg" width="241" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the design for <i>The Triumph of Hope</i></td></tr>
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<span style="font-family: "georgia" , "times new roman" , serif;">So,
allegory doesn’t suffer realism gladly. English painters may have popularized
portraits as allegories—<i style="mso-bidi-font-style: normal;">Lady Somebody as
Minerva</i>—but this always feels like play-acting, not personification.
Classical theorists like Bellori were suspicious of too much realism precisely
because it defeated the transcendent quality of good allegory, locked it down
too much into the here and now, the him or her. But naturalism <i style="mso-bidi-font-style: normal;">was</i> valued, that sense of the
credibility of the allegorical figures. Where is the boundary, then, between
realism and naturalism? The answer, perhaps unsatisfyingly, is that it requires
taste: taste formed on the canon of “classical” achievement, a canon even
loosely defined, but one that establishes some conventions of the acceptably
universal. It might be painterly or precise: <span style="mso-spacerun: yes;"> </span>Luca Giordano and Tiepolo are as much a part
of the canon as Poussin. But its figures transcend their individualism to
become types, universals rather than particulars.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The
taste for allegory may not accord with our dominant zeitgeist: too <i style="mso-bidi-font-style: normal;">ancien régime</i>, too abstruse or pretentious,
too opaque. But it’s also not real enough for most people, doesn’t dazzle with
its meticulous, every-hair-on-the-head depictions. Its imagery is broad,
general, “classical.” At the same time, it’s not divorced from the depiction of
reality; some of the greatest allegorical painters were quite fine
portraitists. Sargent felt something of this need to distinguish his late-career
allegories in the Boston Museum of Fine Arts from his virtuoso portraiture; but
for my money he went too far in the other direction, his allegories lacking any
sense of the sensual, tactile, and human that suffuse the rest of his oeuvre:
they are more graphics, almost abstractions, than paintings. That taste that
distinguishes realism from classicism also distinguishes classicism from
abstraction. And what distinguishes <i style="mso-bidi-font-style: normal;">ars</i>
from <i style="mso-bidi-font-style: normal;">scientia</i> is judgment, formed by
experience of the beautiful, which is found more on canvas and marble than
flesh and blood.<o:p></o:p></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf2j4cacA5Nc3bK4mrZ3w5MhACzHq4DHjVF8XcLEXcm_8hOlhfk1pKs8Q3WBcqRON9mVpme5H55Xxw1F_zOUytOehKb7xhY7loeRjXyj7XuYpFNnlBfuyf5paJj9GSfApQwKdoGl9dajI/s1600/hope-exp_primipensieri.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf2j4cacA5Nc3bK4mrZ3w5MhACzHq4DHjVF8XcLEXcm_8hOlhfk1pKs8Q3WBcqRON9mVpme5H55Xxw1F_zOUytOehKb7xhY7loeRjXyj7XuYpFNnlBfuyf5paJj9GSfApQwKdoGl9dajI/s400/hope-exp_primipensieri.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">first thoughts on this version of <i>Hope Over Experience</i></td></tr>
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Emulatiohttp://www.blogger.com/profile/11773405982717176805noreply@blogger.com0tag:blogger.com,1999:blog-4004767258734318262.post-16767100016184773902016-02-20T12:45:00.000-05:002016-02-20T12:45:29.329-05:00Requiescat in Pace Umberto Eco<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="color: #0b5394; font-size: x-large;">Beyond Hyperreality</span><br /><div class="MsoNormal">
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<o:p> </o:p><i>"Chi non legge, a 70 anni avrà
vissuto una sola vita - aveva detto in passato - Chi legge avrà vissuto 5000
anni. La lettura è un'immortalità all'indietro".</i></div>
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<span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Who doesn’t read, at 70 years old will
have lived only one life—it was once said—He who reads will have lived 5000
years. Reading is immortality in reverse.<o:p></o:p></span></div>
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<span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">—Umberto Eco</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5TkG-pDnDMwqrmmrIQ7lljouYXo10m9y9D31CiatWH3e8mNA1pK1rsuO72kHFcfaCpCDIF6c0-4YVrtZ3xcsndsY-X-2aJy7RD_jIBBJavBHa6Pdb2c1J7sJel604GqO5q4hVnZllhDI/s1600/Eco.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5TkG-pDnDMwqrmmrIQ7lljouYXo10m9y9D31CiatWH3e8mNA1pK1rsuO72kHFcfaCpCDIF6c0-4YVrtZ3xcsndsY-X-2aJy7RD_jIBBJavBHa6Pdb2c1J7sJel604GqO5q4hVnZllhDI/s400/Eco.jpg" width="400" /></a></div>
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<a href="http://www.repubblica.it/cultura/2016/02/20/news/morto_lo_scrittore_umberto_eco-133816061/?ref=hftiluel-1">http://www.repubblica.it/cultura/2016/02/20/news/morto_lo_scrittore_umberto_eco-133816061/?ref=hftiluel-1</a><o:p></o:p></div>
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<a href="http://www.nytimes.com/2016/02/20/arts/international/umberto-eco-italian-semiotician-and-best-selling-author-dies-at-84.html?_r=0">http://www.nytimes.com/2016/02/20/arts/international/umberto-eco-italian-semiotician-and-best-selling-author-dies-at-84.html?_r=0</a><o:p></o:p></div>
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For those like me who fumble for a sense of direction in a
culture that seems so wasted, there are way finders who turn up (if you’re
looking) along the way who give you just enough clarity, maybe even impetus,
that you keep searching with a greater sense of orientation and optimism.
Umberto Eco was one of those for me. Just after architecture school, enamored
of Italy and what little I knew about the humanist renaissance, I read a review
of Eco’s new novel, <i style="mso-bidi-font-style: normal;">The Name of the Rose</i>.
Reading it I learned something—about the Middle Ages, about Aristotle and
Thomism, about Franciscans vs. Benedictines—but I also saw an intellectual, a
scholar, working through the craft of invention. It was so illuminating to see
that highly self-conscious creative process in action; and it was something I
found immensely useful as I worked on my own creative process.<o:p></o:p></div>
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While most of the American obituaries about Eco, who passed
away yesterday, focus on his novels, his first novel led me to other writings
of his, and I’ve found those (and I can’t claim to have read anywhere near all
of them) to be brilliant intellectual bridges between modern issues and
classical culture that only an Italian polymath like him could build. I had
read <i style="mso-bidi-font-style: normal;">Invisible Cities</i> in college—de
rigueur for architects circa 1980—and was just as enamored of Calvino as Eco.
It’s no coincidence that Eco framed his Harvard Norton lectures to balance
those that Calvino was supposed to have delivered at the end of his
life—Calvino on writing (<i style="mso-bidi-font-style: normal;">Six Memos for
the Next Millennium</i>), Eco on reading (<i style="mso-bidi-font-style: normal;">Six
Walks in the Fictional Woods</i>). I recommend each of them highly, in part because
the one on writing tells you a lot about how to read, and the one on reading
not a little about how to write.<o:p></o:p></div>
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Eco was a scholar, critic, and author. As a critic he was
withering on his native Italy, and while it’s hard to deny the verity of his
criticisms, it should be said—and he never could have said it himself—that only
Italy, and its really marvelous humanist high schools, could produce an Eco. In
my experience he is not so much a titan as a type—he’s only the most famous of
a kind of Italian intellectual that the country produces (or maybe, produced)
in abundance. While I didn’t know him personally, I have known the type. And
knowing them is like knowing their forebears (Pico della Mirandola, Egidio da
Viterbo, Pietro Aretino, Daniele Barbaro, Giordano Bruno, Giambattista Marino, Giambattista
Vico). Eco’s counterweight in contemporary Italy is Roberto Calasso (<i style="mso-bidi-font-style: normal;">The Marriage of Cadmus and Harmony</i>, <i style="mso-bidi-font-style: normal;"><a href="http://emulatio.blogspot.com/2010/01/tiepolo-gold-tiepolo-decided-to-copy-as.html" target="_blank">Tiepolo Pink</a></i>), who has been less
political than him but equally interested in the esoterica of Athanasius
Kircher.<o:p></o:p></div>
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Eco may have been the greatest non-practicing Catholic
thinker of the last half-century. He dialogued with and debated the Jesuit
Cardinal Martini of Milan, and I suspect he longed for the relative certainty
that faith affords. Instead, I remember him, around the time <i style="mso-bidi-font-style: normal;">Foucault’s Pendulum</i> came out, describing
his worldview as “tragically optimistic”—because optimism was naïve, and a
tragic view of the world was pointless. Who knows what he thought as he
contemplated the end, but he has passed into another kind of immortality than
the one reading affords, and it may finally make sense of things for him. <o:p></o:p></div>
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A brief Eco reading list beyond the novels:<o:p></o:p></div>
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<i style="mso-bidi-font-style: normal;">Conversations
About the End of Time</i>, wit<span class="st"><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">h Jean-Claude Carriere,
Jean<wbr></wbr> Delumeau, and Stephen Jay Gould<o:p></o:p></span></span></div>
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<i style="mso-bidi-font-style: normal;">Serendipities:
Language and Lunacy<o:p></o:p></i></div>
<div class="MsoNormal" style="margin-left: .5in;">
<i style="mso-bidi-font-style: normal;">Travels
in Hyperreality<o:p></o:p></i></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="st"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Art and Beauty in the Middle Ages<o:p></o:p></span></i></span></div>
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Emulatiohttp://www.blogger.com/profile/11773405982717176805noreply@blogger.com0tag:blogger.com,1999:blog-4004767258734318262.post-88868501767853674332015-12-24T14:59:00.000-05:002015-12-24T16:58:59.302-05:00Sketching at the Getty<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-size: x-large; text-align: justify;">MEETING</span><span style="text-align: justify;"> </span><span style="font-size: x-large; text-align: justify;">HEROES</span><br />
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Yesterday my wife Brette and I went to the Getty Museum: me for the first time. We had a lovely day to do it, partly arriving via public transit (yes it exists in LA). What a spectacular site, not to mention program, enough to make any architect envious. While I appreciate Richard Meier’s references, in plan at least, to Hadrian’s Villa, I couldn’t help thinking a more overt reference to the Roman villa in the architecture wouldn’t have been much, much more appealing, and sympathetic to the collections. <i>Ç’est la vie moderne</i>.</div>
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While there I experimented with drawing on my new iPad Pro (whereupon I currently type), using the ill-named Procreate app to approximate sketching on paper with pencil. I first drew Bernini’s bust of Paul V in pencil, then tried it on the screen (I’ll post that eventually); later I tried just the screen for Rombout Verhulst’s portrait of Jacob van Reygersberg. The app has the advantage of recording a video of the drawing as it happens, which you can see here (apologies for some anomalies, editing the video is not yet my forte):</div>
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/XS8hcP_754c/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/XS8hcP_754c?feature=player_embedded" width="320"></iframe></div>
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Although the app can approximate paper texture and pencil grain, you’re still drawing on a slippery screen, and returning to draw on paper heightened my awareness of the subtle resistance of the paper surface (in my case a handmade grey laid paper from Zecchi in Florence). The value of the app for me was the portability and the chance to record the drawing to show to students at Notre Dame and elsewhere.<br />
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I was happy to find the Getty has a dedicated sketching gallery, equipped with benches and drawing materials. I had seen last month that the National Gallery in Washington offers drawing in the museum sessions. All of this is a wonderful way to revivify the original purpose of the museum to be a home of the Muses.</div>
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While drawing the Flemish bust my wife caught up with me, excited to report she’d just met a hero of hers and mine, a well-known British actor, while looking at paintings in the early Renaissance section. And he, with a young female companion, were heading our way. So when he and his companion arrived I was nearing the end of the sketch, and we had a lovely, informal chat about the app and drawing. Brette and I were discrete enough not to ruin the conversation with recognizing our actor interlocutor, but we couldn’t stop talking about the encounter the rest of the day. And if he’s somewhere reading this, and fancies a pint with some discrete fans, an email can make it so….</div>
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Emulatiohttp://www.blogger.com/profile/11773405982717176805noreply@blogger.com0United States37.09024 -95.712891000000013-36.4186355 99.052733999999987 90 69.521483999999987tag:blogger.com,1999:blog-4004767258734318262.post-78877896394428331282015-11-28T11:20:00.000-05:002015-11-28T11:21:39.204-05:00The Triumph of Hope Over Experience<div dir="ltr" style="text-align: left;" trbidi="on">
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<i><span style="font-family: "times new roman"; mso-bidi-font-size: 12.0pt;"><span style="color: #990000; font-size: x-large;">AN ALLEGORY</span></span></i></div>
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<span style="color: #990000; font-family: "times new roman"; font-size: x-large;"><i><br /></i></span><i><span style="font-family: "times new roman"; mso-bidi-font-size: 12.0pt;"><span style="color: #990000; font-size: x-large;"></span></span></i></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxmLWwGLUd0ZVo3jn1KCQkRlLXOYoH8kJs7EwX8q1TsJMqzIna9Qw6sGwDoeD8Tlhvb6bWRdrdwYQgnWkbqupwoTKu3rgWgYdOEN885gUN3iUiByFHBgdjga33qohuTYs3j-WBAM5-jdM/s1600/hope-experience_frame.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxmLWwGLUd0ZVo3jn1KCQkRlLXOYoH8kJs7EwX8q1TsJMqzIna9Qw6sGwDoeD8Tlhvb6bWRdrdwYQgnWkbqupwoTKu3rgWgYdOEN885gUN3iUiByFHBgdjga33qohuTYs3j-WBAM5-jdM/s400/hope-experience_frame.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666; font-size: small;"><i>The Triumph of Hope Over Experience</i>, oil on canvas, </span><span style="color: #666666; font-size: x-small;">MMXI</span><i><span style="color: #990000; font-size: x-large;"><span style="text-align: justify;"> </span></span></i></td></tr>
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<span style="font-family: "times new roman"; mso-bidi-font-size: 12.0pt;">Recently
I gave a talk in Washington at a roundtable discussion about the World War I
Memorial competition. I framed the memorial discussion as a choice between
three types of memorials: the therapeutic, the documentary, and the rhetorical.
Perhaps needless to say, I was advocating for the rhetorical, which is the
classical mode operating at its most articulate. The rhetorical approach to the
arts is arguably what defined the Renaissance tradition, and as I argued in a
recent talk in Spain about humanism in architecture (you can see the video <a href="https://www.youtube.com/watch?v=PQUqCGU3R90">here</a>) the Renaissance
effectively invented the classical language of architecture <i style="mso-bidi-font-style: normal;">qua</i> language. In the arts—and I fancy
myself a painter as much as an architect (something my painter friends have a
hard time understanding)—there is a rampant rebirth of realism, but very little
of what I would call classical painting. Now, there are many who throw the
moniker Classical Realism around, and I have argued <a href="http://www.davidmayernik.com/beautiful.html">elsewhere</a> that that is a
contradiction in terms. But lest the impression be given that all I do is
argue, what I really do is hope, against all the evidence to the contrary. <o:p></o:p></span></div>
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<span style="font-family: "times new roman"; mso-bidi-font-size: 12.0pt;">I
paint <i style="mso-bidi-font-style: normal;"><a href="http://pleinairitaly.blogspot.com/">en plein air</a></i>, I’m not a bad <a href="http://www.davidmayernik.com/portraitstilllife.html">portraitist</a>, and
I occasionally do still life. But where my heart lies is <a href="http://www.davidmayernik.com/mythallegory.html">allegorical and narrative
painting</a>. And yet I know there doesn’t seem to be much appetite for that
kind of painting, at least by the evidence of gallery representation; I’d be
happy to show and sell my plein airs, etc., and have done and continue to do
so. But I continue to hope against experience for an audience for the
rhetorical work. So when I heard recently about an art representative looking
for work for an art fair in Padova, my first instinct was to provide her some
plein air work: low-hanging fruit, so to speak. Likeable, accessible stuff. But
I then thought, why not show her something of the allegorical? At our place
in Italy I had a composition I’d done a few years ago, <i style="mso-bidi-font-style: normal;">The Triumph of Hope Over Experience</i>. This is a theme that sounds
like a Baroque allegory, but as far as I can tell it’s not often, if ever, been
painted. I sometimes do these allegories to deal with my current concerns, like
<i style="mso-bidi-font-style: normal;"><a href="http://www.davidmayernik.com/diogenesslidesho.html">Diogenes<span style="font-style: normal;"> </span>and Alexander</a> </i>(speaking truth to
power). <i style="mso-bidi-font-style: normal;">The Triumph of Hope</i> is about
my own hope in the face of experience—of the waning of whatever there was of a
classical movement in architecture, of the aversion to allegorical and
mythological painting, of our general comfort as a culture with
mediocrity—because I know the great traditions of the Renaissance and Baroque
still attract millions of visitors to Europe, even if those same people can’t imagine
realizing such things today.<o:p></o:p></span></div>
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<span style="font-family: "times new roman"; mso-bidi-font-size: 12.0pt;">In
fact, the art rep liked the allegory, put it in the show, was optimistic about
its chances for an award, even a sale, and wanted more. Ah, hope! The allegory
was becoming reality, I thought.</span></div>
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<span style="font-family: "times new roman"; mso-bidi-font-size: 12.0pt;">The
experience, instead, was of the ordinary kind—no sale, no prize, no press. But,
like the painting (and a new one, slightly more sanguine, is in the works) I
pour water on seemingly exhausted plants, and light fires in the dark; small
leaves sprout from dead branches, ancient altars glow again. Ah, Hope! She’s
her own justification. And not a bad theme for a painting.<o:p></o:p></span></div>
</div>
Emulatiohttp://www.blogger.com/profile/11773405982717176805noreply@blogger.com0tag:blogger.com,1999:blog-4004767258734318262.post-49502510238702855982015-10-14T15:46:00.000-04:002015-10-14T15:46:48.891-04:00EXPO. SURE?<div dir="ltr" style="text-align: left;" trbidi="on">
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<div style="text-align: center;">
<span style="color: #999999; font-family: Georgia, Times New Roman, serif; font-size: x-large;"><i>Sustainability
as Entertainment </i></span></div>
<div style="text-align: center;">
<span style="color: #999999; font-family: Georgia, Times New Roman, serif; font-size: x-large;"><i>along the Cardo and Decumanus</i></span></div>
<br />
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<span style="color: #999999; font-family: Georgia, Times New Roman, serif; font-size: x-large;"><i><br /></i></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="color: #999999; font-family: Georgia, Times New Roman, serif; font-size: x-large;"><i></i></span></div>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNv_6g4eCLz3PTSoEq91zONpYzI6wis1lu8gqFiE-hahb0HOGU67YEAr-TE2LgxNgVCizi8Yf5ua30qiwmTU4M5OO3WMUmzOC9H14yOb8JxEViI5lW80nBUOESjbzqQse6ayu-q9K-fmI/s1600/lasvizzera.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: Georgia, Times New Roman, serif;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNv_6g4eCLz3PTSoEq91zONpYzI6wis1lu8gqFiE-hahb0HOGU67YEAr-TE2LgxNgVCizi8Yf5ua30qiwmTU4M5OO3WMUmzOC9H14yOb8JxEViI5lW80nBUOESjbzqQse6ayu-q9K-fmI/s320/lasvizzera.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="color: #999999; font-family: Georgia, Times New Roman, serif; font-size: small;">the Swiss Pavilion</span></i></td></tr>
</tbody></table>
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<div style="text-align: right;">
<span style="font-family: Georgia, 'Times New Roman', serif; text-align: justify;">I
gave a talk about the TASIS campus as an alternative to the crisis of sprawl at
the Swiss Pavilion at </span><a href="http://www.expo2015.org/en/index.html?packedargs=op=changeLang" style="font-family: Georgia, 'Times New Roman', serif; text-align: justify;">Expo Milano</a><span style="font-family: Georgia, 'Times New Roman', serif; text-align: justify;">
on October 10. Expo’s ostensible theme is </span><i style="font-family: Georgia, 'Times New Roman', serif; text-align: justify;">Feeding
the Planet</i><span style="font-family: Georgia, 'Times New Roman', serif; text-align: justify;">, and while there was a subtext of food at the national
pavilions, this is hardly comes off as an event intended to change the world.
After all, McDonald’s had a place on the so-called Decumano (allusions to the
Roman decumanus being a form of pretense without much substance). This was
sustainability as entertainment, and wow, does it work: on a beautiful autumn
Saturday it was absolutely packed, the waits to get into many of the pavilion
exhibits ranging toward four and even </span></div>
<span style="font-family: Georgia, Times New Roman, serif;"><span style="text-align: justify;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKaw5YpvLjvi-EqPLQuC02F71ayNdInRdQgV7NO3RmH8nD8YPVZ-PytXFXTOXNH9dAQUjqXkPEMUla2OOS1a88VpWyHf7v2ghCaGd1zN4oHE7rzG7Imz-uz4oRK4wtkMPCY-_i9EPdml0/s1600/lafolla.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKaw5YpvLjvi-EqPLQuC02F71ayNdInRdQgV7NO3RmH8nD8YPVZ-PytXFXTOXNH9dAQUjqXkPEMUla2OOS1a88VpWyHf7v2ghCaGd1zN4oHE7rzG7Imz-uz4oRK4wtkMPCY-_i9EPdml0/s320/lafolla.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #999999; font-size: small;"><i>the Decumano looking west</i></span></td></tr>
</tbody></table>
six hours, and the dense (in more than
one sense) crowds along the Decumano almost un-passable. </span></span><br />
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<div style="text-align: left;">
</div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuJby7yR8-kq9apaqtRAdNrIdZZwO-4b5_cD4NY3yUwGdnOn3oT4iQvTtccX7OjNsN9vqH8KFiGGPBIXr45mfoJjAkZtY1JsBAIlAC7KVc0FZ541HP7nxmEpxBAaTrmhghLNJyevN0kkY/s1600/benvenutiinitalia.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuJby7yR8-kq9apaqtRAdNrIdZZwO-4b5_cD4NY3yUwGdnOn3oT4iQvTtccX7OjNsN9vqH8KFiGGPBIXr45mfoJjAkZtY1JsBAIlAC7KVc0FZ541HP7nxmEpxBAaTrmhghLNJyevN0kkY/s320/benvenutiinitalia.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #999999; font-family: Georgia, Times New Roman, serif; font-size: small;"><i>benvenuti in Italia!</i></span></td></tr>
</tbody></table>
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<span style="font-family: Georgia, 'Times New Roman', serif; text-align: justify;">Questions are
un-escapable about how sustainable the Expo itself is: the Expo website has a
page on </span><a href="http://www.expo2015.org/en/learn-more/sustainability/towards-a-sustainable-expo" style="font-family: Georgia, 'Times New Roman', serif; text-align: justify;">Sustainable
Expo</a><span style="text-align: justify;"><span style="font-family: Georgia, Times New Roman, serif;">, but when I visited it the link to </span><span style="color: #e06666; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sustainable Architecture of Self-Built
Pavilions</span><span style="font-family: Georgia, Times New Roman, serif;"> was broken. It’s one thing to recycle building materials, another to
reuse buildings; I suspect there will be much more of the former than the
latter. The Swiss pavilion </span><span style="font-family: Georgia, Times New Roman, serif;">tower, earnestly didactic almost to the point of
pedantry about limited food resources, was built of concrete, steel and glass,
accessible only by (small) elevator, much of it hard to imagine being salvaged
and reused—although the glue-laminated timber passerelle that snakes its way
somewhat irrationally (formal rationalism may no longer be the dominant Swiss
mode) around the tower could theoretically be unbolted and reassembled. Very
few pavilions could be recognized for their national identity without
signage—Italy perhaps most egregiously; but this is in a way to say that few
were in any sense evocative of traditional architecture (Romania being among
the notable exceptions).</span></span></div>
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<span style="text-align: justify;"><span style="font-family: Georgia, Times New Roman, serif;"><br /></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDBrewIbVt2OcwhHeCcWhoxS_KPhyELrGBH4dIhP7dk2AptbQyZWYlOLKBBNtmW1mU7lAOtaYkLQM4IYbSr2nWY5Y8h_U4qk_sAQvynfGtOXEHFyJ0zaq5WAdSwrpMhbSSrSLnLqr5yvA/s1600/slovenia.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: Georgia, Times New Roman, serif;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDBrewIbVt2OcwhHeCcWhoxS_KPhyELrGBH4dIhP7dk2AptbQyZWYlOLKBBNtmW1mU7lAOtaYkLQM4IYbSr2nWY5Y8h_U4qk_sAQvynfGtOXEHFyJ0zaq5WAdSwrpMhbSSrSLnLqr5yvA/s320/slovenia.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #999999; font-family: Georgia, Times New Roman, serif; font-size: small;"><i>feel the slove-nia</i></span></td></tr>
</tbody></table>
<br />
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<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWAQAh9dT2_pQ0rG9qUQ_gWOrAOX7Uu8HCONfMYM6Aj5KaoY4H2ldFJxEPRnrHJYmPLJQBbYpwiLNrAnnKnZzUEUZjB_URgB2jvMNur2g64e8BaYTXiKuEfG7gNRwjFX-vbAYs14o5Uh8/s1600/fakemeat.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: Georgia, Times New Roman, serif;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWAQAh9dT2_pQ0rG9qUQ_gWOrAOX7Uu8HCONfMYM6Aj5KaoY4H2ldFJxEPRnrHJYmPLJQBbYpwiLNrAnnKnZzUEUZjB_URgB2jvMNur2g64e8BaYTXiKuEfG7gNRwjFX-vbAYs14o5Uh8/s320/fakemeat.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #999999; font-family: Georgia, Times New Roman, serif; font-size: small;"><i>Mmmmm, meat!</i></span></td></tr>
</tbody></table>
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<span style="font-family: Georgia, Times New Roman, serif;">This
was, paradoxically if not cynically, not at all about seriously dealing with
hunger, healthy eating, traditional foods (the only “traditional” displays of
food were Dante Ferretti’s jumbo-crèche carts of fake food along the center of the
Decumano), or biodiversity. This was about consumption being swallowed with a
soupçon of concern. Feel good about yourself while chowing down at a food cart
in a throw-away landscape! </span></div>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3WP4uTtGr-AVeBSnIKmaOqKHdeJhwtFMMutygTwvqz0jMzjVXQFMR1XW5zGBw1fkhiFzFeg0LtPLxyiCiKnNW3f3WEonhkoxNRE2fvDsAHLA8WSScfoCP9WO8N9gYan8hroIpumfFZOQ/s1600/expo_panorama_web.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Georgia, Times New Roman, serif;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3WP4uTtGr-AVeBSnIKmaOqKHdeJhwtFMMutygTwvqz0jMzjVXQFMR1XW5zGBw1fkhiFzFeg0LtPLxyiCiKnNW3f3WEonhkoxNRE2fvDsAHLA8WSScfoCP9WO8N9gYan8hroIpumfFZOQ/s640/expo_panorama_web.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="color: #999999; font-family: Georgia, Times New Roman, serif; font-size: small;">taking the long view: Yikes!</span></i></td></tr>
</tbody></table>
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<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif;">Zooming out and seeing the fair in context, the
increasingly nightmarish landscape that takes over as Milan dissipates into its
periphery begs the question of how the Expo could have been more
“constructive:” maybe rehabilitating a dilapidated neighborhood instead of
operating in a cordoned-off hinterland? Taking over an at-risk or moribund
field and rendering it arable? But this Expo isn’t all about constructive
change, it’s more about the status quo—and full steam ahead! Fortunately, many
in the food world are more serious than Expo expresses, and certainly more
enlightened than the hegemonic architectural forms on display. They have Slow Food, where's the Slow Architecture?</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: 'Times New Roman';"><br /></span></div>
</div>
Emulatiohttp://www.blogger.com/profile/11773405982717176805noreply@blogger.com0tag:blogger.com,1999:blog-4004767258734318262.post-6472960628142651032015-08-30T10:49:00.000-04:002015-09-01T12:15:44.238-04:00Emulation Quotes<div dir="ltr" style="text-align: left;" trbidi="on">
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<i><span style="color: #990000; font-size: x-large;">From Antiquity Onward</span></i></div>
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<o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixgm9n0hc-GLuM8xlAGLZaOkAd0RmHUuOru04AmAhL9KUaT4gzb1mXjawdaMscwEKiIGbR48KR2hKE0F1caOWGr1dfzMbHup03FVCi0b1RV67C2bsM3a54Tt0cewRDimxGAB7WE_QpKEw/s1600/academy.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="191" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixgm9n0hc-GLuM8xlAGLZaOkAd0RmHUuOru04AmAhL9KUaT4gzb1mXjawdaMscwEKiIGbR48KR2hKE0F1caOWGr1dfzMbHup03FVCi0b1RV67C2bsM3a54Tt0cewRDimxGAB7WE_QpKEw/s320/academy.jpg" width="320" /></a></div>
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I’m happily not on the <a href="http://www.tradarch.net/">Tradarch
Listserv</a>, but occasionally I hear if my name or work is invoked. In a
recent exchange there was some discussion about the difference between
imitation and emulation, and as I’ve pointed out in <a href="http://www.ashgate.com/default.aspx?page=637&calcTitle=1&isbn=9781409457671&lang=en">my
book</a>, this confusion is at least a couple of centuries old. But it is a
mistake to think that emulation supplanted imitation in the Renaissance, as
Carroll William Westfall argues from an almost pre-Raphaelite position in <a href="http://www.nccsc.net/essays/vitruvius-model-modernist-architects">American
Arts Quarterly</a>. Westfall wants to separate architecture from the other arts
(of which, it was said, it was their mother); but cleaving the metopes from the
Parthenon frieze is easier in practice than conceptually (Phidias himself may
have operated as an architect). If architecture is not the art of building I do
not know what it is. The classical mind does not hold disparate positions on the various arts, whether literary or visual. And emulation is as old as antiquity, as all literary
scholars seem to know, but it is also natural to artists, part and parcel of
engaging in an art that has coherent standards of judgment. All serious artists
want to excel; competency is for craftsmen. Artists of that stripe are as old
as Phidias, at least. So, to put emulation in context, here are some quotes:<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">Longinus<o:p></o:p></b></div>
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This writer [Plato] shows us, if only we were willing to pay
him heed, that another way (beyond anything we have mentioned) leads to the
sublime. And what, and what manner of way, may that be? It is the imitation and
emulation of previous great poets and writers. And let this, my dear friend, be
an aim to which we stedfastly apply ourselves.<o:p></o:p></div>
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Longinus. 1899 <i style="mso-bidi-font-style: normal;">On the Sublime</i>. trans. <span style="mso-bidi-font-weight: bold;">Roberts,
W. R. XIII, 2. </span>http://www.classicpersuasion.org/pw/longinus/index.htm<o:p></o:p></div>
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<br /></div>
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For many men are carried away by the spirit of others as if
inspired, just as it is related of the Pythian priestess when she approaches
the tripod, where there is a rift in the ground which (they say) exhales divine
vapour. By heavenly power thus communicated she is impregnated and straightway
delivers oracles in virtue of the afflatus. Similarly from the great natures of
the men of old there are borne in upon the souls of those who emulate them (as
from sacred caves) what we may describe as <span style="mso-bidi-font-style: italic;">effluences</span>, so that even those who seem little likely to be
possessed are thereby inspired and succumb to the spell of the others'
greatness.<o:p></o:p></div>
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Longinus. 1899 <i style="mso-bidi-font-style: normal;">On the Sublime</i>. trans. <span style="mso-bidi-font-weight: bold;">Roberts,
W. R. XIII, 2. </span>http://www.classicpersuasion.org/pw/longinus/index.htm<o:p></o:p></div>
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<br /></div>
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<b>3.</b> Was Herodotus alone a devoted imitator of Homer?
No, Stesichorus even before his time, and Archilochus, and above all Plato, who
from the great Homeric source drew to himself innumerable tributary streams.
And perhaps we should have found it necessary to prove this, point by point,
had not Ammonius and his followers selected and recorded the particulars. <a href="https://www.blogger.com/null" name="xiii4"></a><b>4.</b> This proceeding is not plagiarism; <i style="mso-bidi-font-style: normal;">it is like taking an impression from
beautiful forms or figures or other works of art</i>. And it seems to me that
there would not have been so fine a bloom of perfection on Plato's
philosophical doctrines, and that he would not in many cases have found his way
to poetical subject-matter and modes of expression, unless he had with all his
heart and mind struggled with Homer for the primacy, entering the lists like a
young champion matched against the man whom all admire, and showing perhaps too
much love of contention and breaking a lance with him as it were, but deriving
some profit from the contest none the less. For, as Hesiod says, 'This strife
is good for mortals' (<i style="mso-bidi-font-style: normal;">Works and Days</i>
24, at Perseus). And in truth that struggle for the crown of glory is noble and
best deserves the victory in which even to be worsted by one's predecessors
brings no discredit.<o:p></o:p></div>
<div class="MsoNormal" style="margin-left: .5in;">
Longinus. 1899 <i style="mso-bidi-font-style: normal;">On the Sublime</i>. trans. <span style="mso-bidi-font-weight: bold;">Roberts,
W. R. XIII. </span>http://www.classicpersuasion.org/pw/longinus/index.htm<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">Quintilian<o:p></o:p></b></div>
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<a href="https://www.blogger.com/null" name="23"><span style="mso-fareast-font-family: "Times New Roman";">23.</span></a><span style="mso-fareast-font-family: "Times New Roman";"> I remember a practice that
was observed by my masters, not without advantage. Having divided the boys into
classes, they assigned them their order in speaking in conformity to the
abilities of each, and thus each stood in the higher place to declaim according
as he appeared to excel in proficiency. <a href="https://www.blogger.com/null" name="24">24.</a> Judgments were
pronounced on the performances, and great was the strife among us for
distinction, but to take the lead of the class was by far the greatest honor.
Nor was sentence given on our merits only once; the 30th day brought the
vanquished an opportunity of contending again. Thus, he who was most successful
did not relax his efforts, while uneasiness incited the unsuccessful to
retrieve his honor. <a href="https://www.blogger.com/null" name="25">25.</a> I should be inclined to maintain, as far
as I can form a judgment from what I conceive in my own mind, that this method
furnished stronger incitements to the study of eloquence than the exhortations
of preceptors, the watchfulness of <i>paedagogi</i>, or the wishes of parents. <a href="https://www.blogger.com/null" name="26">26.</a> But as emulation is of use to those who have made some
advancement in learning, so, to those who are but beginning and are still of
tender age, to imitate their schoolfellows is more pleasant than to imitate
their master, for the very reason that it is easier.<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;">Quintilian’s
Institutes of Oratory</i>, Book 1, Chapter 2<o:p></o:p></div>
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http://rhetoric.eserver.org/quintilian/1/chapter2.html<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">Pliny the Elder<o:p></o:p></b></div>
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<span style="mso-fareast-font-family: "Times New Roman";">The
most celebrated [artists] have also come into competition with each other,
although born at different periods, because they had made statues of Amazons;
when these were dedicated in the Temple of Artemis of Ephesus, it was agreed
that the best one should be selected by the vote of the artists themselves who
were present; and it then became evident that the best was the one which all
the artists judged to be the next best after their own: this is the Amazon by
Polycleitus, while next to it came that of Pheidias, third Cresilas’s, fourth
Cydon’s and fifth Phradmon’s.<o:p></o:p></span></div>
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<span style="mso-fareast-font-family: "Times New Roman";">Pliny the Elder, <i style="mso-bidi-font-style: normal;">Natural
History</i>, trans. H. Rackham, Loeb Classical Library, 1938, p. 167<o:p></o:p></span></div>
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http://www.loebclassics.com/view/pliny_elder-natural_history/1938/pb_LCL394.167.xml<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Pliny the Younger<o:p></o:p></b></div>
<div class="MsoNormal">
It may not be amiss when you have read only so much of an
author at once, as to carry in your head his subject and argument, to turn, as
it were, his rival, and write something on the same topic; then compare your
performance and his, and minutely examine in what points either you or he most
happily succeeded. It will be a matter of very pleasing congratulation to
yourself, if you shall find that in some things you have the advantage of him,
as it will be a great mortification if he should rise above you in all.<o:p></o:p></div>
<div class="MsoNormal">
You may sometimes venture to pick out and try to emulate the
most shining passages of an author. Such a contest is, indeed, something bold;
but as it passes in secret, it cannot be taxed with presumption. Not but that
we see many persons enter this sort of lists with great applause, and because
they do not despair of themselves, advance before those whom they thought it
sufficient honour to follow.<o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
Pliny, <i style="mso-bidi-font-style: normal;">Letters</i>, Book Seven, Letter 9, To Fuscus<o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
http://www.vroma.org/~hwalker/Pliny/Pliny07-09-E.html<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">On Ancient Roman
Sculpture<o:p></o:p></b></div>
<div class="MsoNormal">
Failure in artistic endeavors was not, then, primarily
defined as the inability to surpass one’s predecessors. The Romans did not
assign that sort of value to progress. Rather, real failure was characterized
by a lack of interest in even attempting to meet the standards of “the
ancients.”<o:p></o:p></div>
<div class="MsoNormal" style="margin-left: .5in;">
Perry, E. E. “Rhetoric, Literary
Criticism, and Roman Artistic Imitation,” <i style="mso-bidi-font-style: normal;">The
Ancient Art of Emulation: Memoirs of the American Academy in Rome</i>, ed. E.
Gazda, Ann Arbor, 2002, p. 163<o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIhZLsGRdYlT42z_Ikan6tBlsCLcKn5adiPObcwK7mSNO18tPal2PSaM848OpUvw1xV6Viulpr7Kny7JGoWV99E7t4RhmvT6OvH_7fGjH_ep-7p9mkptxUXgFuSIxyOaoCMGNtVdjO77o/s1600/arch_constantine.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIhZLsGRdYlT42z_Ikan6tBlsCLcKn5adiPObcwK7mSNO18tPal2PSaM848OpUvw1xV6Viulpr7Kny7JGoWV99E7t4RhmvT6OvH_7fGjH_ep-7p9mkptxUXgFuSIxyOaoCMGNtVdjO77o/s320/arch_constantine.jpg" width="320" /></a></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">On Ancient Roman
Architecture<o:p></o:p></b></div>
<div class="MsoNormal">
Evidently the aim [of Constantine’s arch] was to emulate
quite literally the Severan arch, the site of which, at the heart of the Forum
Romanum, made it Rome’s triple arch <i style="mso-bidi-font-style: normal;">par
excellence</i>. It seems highly likely that the later architect overlaid his
own design over drawings of the earlier building…[A series of] adjustments made
the proportions even more ‘classical’ than those of the earlier arch,
presenting an intriguing counterpoint to the otherwise innovative character of
contemporary architectural developments.<a href="https://www.blogger.com/blogger.g?blogID=4004767258734318262#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><sup><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><sup><span style="font-family: Times; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: Times; mso-fareast-language: EN-US;">[1]</span></sup><!--[endif]--></span></sup></a><o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
Wilson Jones, M. 2000. <i style="mso-bidi-font-style: normal;">Principles of Roman Architecture</i>. New
Haven: Yale. 124<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">On Petrarch, and by Petrarch
Himself<o:p></o:p></b></div>
<div class="MsoNormal">
On the one hand he read authors like Ennius and Plautus only
once and quickly at that; if he [Petrarch] memorized anything of theirs, it was
so alien to his own thoughts that it stood in his memory as another’s. On the
other hand, he read and reread Virgil, Cicero, Horace, and Boethius. He
digested their works so thoroughly that they entered his bone marrow, not just
this memory. They became so much a part of his mind that occasionally their
phrases came to his pen without his recognizing the source or even that they
came from someone else.<o:p></o:p></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="mso-bidi-language: EN-US;">Pigman III, G. W. Spring, 1980. Versions of Imitation in the
Renaissance. <i style="mso-bidi-font-style: normal;">Renaissance Quarterly</i>.
Univ. of Chicago Press (Renaissance Society of America), Vol. 33, No. 1<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The inaccessible peak, which Monicus upbraids Silvius for
struggling toward, panting and exhausted though he is, is the height of fame,
the rarer sort of fame, which but few succeed in attaining to. The deserts
where Silvius is said to wander are scholarly pursuits… Murmuring fountains can
be used of men of letters and of those who have the gift of eloquence, inasmuch
as little streams of intellectual influence flow from the wellsprings of genius
that are within them, with a sound, so to speak, that charms and delights us.<o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
Petrarch, Letter, “On the Nature of
Poetry”<o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
http://petrarch.petersadlon.com/read_letters.html?s=pet13.html<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">From Vasari, On
Various Artists<o:p></o:p></b></div>
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So Pietro [Perugino] often used to ask, of those he knew to
have travelled the world, whereabouts were the best masters of that calling
[painting]: and particularly he asked this of his master, who always replied to
the same effect, namely that in Florence more than anywhere else appeared men
who were perfect in all the arts, and especially in painting, because in that
city people are spurred on by three things. First is the sharp criticism so
often expressed by so many people, as the air of Florence breeds naturally free
spirits not generally content with mediocre works, but always considering them
more in respect of the good and the beautiful than with regard to those who
made them. Next, if anyone wishes to live there, he needs to be industrious,…
And the third spur, surely no less effective than the others, is a lust for
glory and honour which the very air of Florence generates in those of every
profession, and which if they are persons of spirit will not let them simply be
the equals of those they see to be men like themselves, let alone lag behind,
though they acknowledge them as masters.</div>
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<br />
<div class="MsoNormal" style="margin-left: .5in;">
“Pietro Perugino,” <i>Lives of the Artists</i>: Vol. II, trans. George Bull, Penguin
Classics, 1987, pp. 87-88<o:p></o:p></div>
<!--EndFragment--><br />
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal">
But some believe he was deterred from this [staying in Rome]
by the abundance of works in sculpture and painting to be seen in that city,
both ancient and modern, and by seeing many young disciples of Raphael and of
others, bold in draughtsmanship and confident and effortless in painting, whom,
so timid was he, Andrea did not have the heart to emulate. And so, riddled with
doubt, he decided it would be best to return to Florence; and there, reflecting
little by little on what he had seen, he benefitted so much that his works have
since been highly praised and admired, and, moreover, imitated more after his
death than during his lifetime….<o:p></o:p></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="mso-spacerun: yes;"> </span>“Andrea del Sarto,” <i style="mso-bidi-font-style: normal;">Lives of the Artists</i>: Vol. II, Penguin
Classics, 1987, p. 165<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Now that I have described the works of this talented painter
[Raphael] I must, before giving further details of his life and death, take the
trouble, for the benefit of our artists, to discuss the various styles in which
he painted. In his boyhood, then, he imitated the style of his master, Pietro
Perugino; and <i style="mso-bidi-font-style: normal;">after he had vastly
improved on it as regards drawing, colouring, and invention</i>, he considered
that he had accomplished enough. But when he was more mature he realized he was
still a long way from the truth. Then he saw the works of Leonardo da Vinci,….<o:p></o:p></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="mso-spacerun: yes;"> </span>“Raphael of Urbino,” <i style="mso-bidi-font-style: normal;">Lives of the Artists</i>: Vol. I, trans. George Bull, Penguin Classics,
1987, p. 315<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Having considered all this, therefore, Raphael, being unable
to compete with Michelangelo in the branch of painting to which he had set his
hand [the nude figure], resolved to emulate and perhaps surpass him in other
respects. So he decided not to waste his time by imitating Michelangelo’s style
but to attain a catholic excellence in the other fields of painting that have
been described [in addition to animals and portraits, “countless other things,
namely, draperies, shoes, helmets, armour, women’s head-dresses, hair, beards,
vases, trees, grottoes, rocks, fires, skies overcast or clear, clouds, rain,
lightening, fine weather, night-time, moonlight, bright sunshine, and countless
other subjects which are used by painters nowadays.”]<o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
p. 317<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This was because the instinctive grace of Michelangelo’s
work was enhanced by study and practice; and every day he produced work that
was still more inspired. For example, it was at that time [he was about 17]
that he made the copy of an engraving by Martin the German [Martin Schongauer]
that brought him considerable fame. Michelangelo did a perfect pen-and-ink copy
of this copper engraving, which showed St Anthony being tortured by devils,
soon after it had been brought to Florence. He also did the scene in colours;
and for this purpose in order to copy some of the strange-looking demons in the
picture he went along to the market and bough some fishes with fantastic scales
like theirs. The skill with which he did this work won him a considerable
reputation. Michelangelo also copied the works of other masters, with complete
fidelity; he used to tinge his copies and make them appear black with age by
various means, including the use of smoke, so that they could not be told apart
from the originals. He did this so that he could exchange his copies for the
originals, which he admired for their excellence and which he tried to surpass
in his own works; and these experiments also won him fame.<o:p></o:p></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="mso-spacerun: yes;"> </span>“Michelangelo Buonarotti,” <i style="mso-bidi-font-style: normal;">Lives of the Artists</i>: Vol. I, <span style="mso-spacerun: yes;"> </span>Penguin Classics, 329<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Wittkower on Bernini
and Poussin<o:p></o:p></b></div>
<div class="MsoNormal">
It is well known that most of Bernini’s early works are
close to some ancient model. Until a generation ago the Borghese <i style="mso-bidi-font-style: normal;">Amalthea</i> was believed to be Hellenistic.
His <i style="mso-bidi-font-style: normal;">Pluto</i> reveals the close study of
the <i style="mso-bidi-font-style: normal;">Hercules</i> in the Capitoline
Museum, a statue that Algardi had restored at a slightly later date. The <i style="mso-bidi-font-style: normal;">David</i> refers to the <i style="mso-bidi-font-style: normal;">Borghese Warrior</i>, and the Apollo of the <i style="mso-bidi-font-style: normal;">Apollo and Daphne</i> to the Apollo Belvedere …<o:p></o:p></div>
<div class="MsoNormal">
As a rule, Bernini begins by following a classical model. In
elaborating his idea, however, he ends up with an intensely Baroque solution …
[T]he paintings of the early Poussin are comparatively loose, and only as he
matured did they become progressively formalized; by contrast, the works of the
early Bernini are comparatively classical, and only later in his career did
they become progressively free and imaginative.<o:p></o:p></div>
<div class="MsoNormal" style="margin-left: .5in;">
Wittkower, R. 1975.”The Role of
Classical Models in Bernini and Poussin,” in <i style="mso-bidi-font-style: normal;">Studies in Italian Baroque</i>. Boulder: Westview Press.110; 112-113<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Baldassare Gracián<o:p></o:p></b></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">Choose a heroic model,</i>
and emulate rather than imitate. There are examples of greatness, living texts
of renown. Let each person choose the first in his field, not so much to follow
him as surpass them. Alexander cried at the tomb of Achilles, not for Achilles
but for himself, for unlike Achilles, he had not yet been born to fame. Nothing
makes the spirit so ambitious as the trumpet of someone else’s fame. It
frightens away envy and encourages noble deeds.<o:p></o:p></div>
<div class="MsoNormal" style="margin-left: .5in;">
Baldassare Gracián, 1647, aphorism
75, 1993. <i style="mso-bidi-font-style: normal;">The Art of Worldly Wisdom</i>.
trans. C. Maurer. New York: Doubleday. 43<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And lastly, <b style="mso-bidi-font-weight: normal;">Dryden</b>,
from <a href="http://emulatio.blogspot.it/2014/11/emulation-talk-at-british-institute-in.html">a
post of last year</a>:<o:p></o:p></div>
<div class="MsoNormal">
[Shakespeare’s portrait]<o:p></o:p></div>
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Bids thee thro’ me, be bold; with dauntless breast<o:p></o:p></div>
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Contemn the bad and Emulate the best…<o:p></o:p></div>
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John Dryden, “To Sir Godfrey
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Poems of John Dryden</i>, ed. John Sargeaunt, Oxford Editions of Standard
Authors, 1948, p. 168.<o:p></o:p></div>
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<a href="https://www.blogger.com/blogger.g?blogID=4004767258734318262#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: Times; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></span></span></a>
Wilson-Jones may be using the word emulation here as a euphemism for imitation<o:p></o:p></div>
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Emulatiohttp://www.blogger.com/profile/11773405982717176805noreply@blogger.com0tag:blogger.com,1999:blog-4004767258734318262.post-28605783831700049062015-08-08T12:26:00.000-04:002015-08-08T16:21:35.148-04:00Haydn Out in the Park<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: 'Times New Roman';"><span style="color: #b45f06; font-size: x-large;"><i>"Wonder
and Joy"</i></span></span></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><o:p> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi47UVSgBRh889Bu3t1uV5yTDLCBU8gRtA-P_fJbXpVPYjJewvZb6ldZRU0AhcdoXnfFFpk2VV01qX7gE045JuuRv_vXl5QrtOwO69oi1wvVRDryx01TiuHOk-4Z8xUXOD1H3RNq3K5Tuw/s1600/millennium_panorama.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="155" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi47UVSgBRh889Bu3t1uV5yTDLCBU8gRtA-P_fJbXpVPYjJewvZb6ldZRU0AhcdoXnfFFpk2VV01qX7gE045JuuRv_vXl5QrtOwO69oi1wvVRDryx01TiuHOk-4Z8xUXOD1H3RNq3K5Tuw/s640/millennium_panorama.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-size: small;">I'll jumble for you...</span></i></td></tr>
</tbody></table>
</o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<span style="text-align: justify;">I
may be in a small minority of people who find the Frank Gehry Pritzker Pavilion
in Chicago’s Grant Park monstrous, in a Transformers-Come-To-Life kind of way.
Whimsical perhaps from a distance, to me it is positively, loomingly terrifying up
close. And all fine if it is is a showcase for technology, but hearing Haydn’s
late, beautiful </span><i style="mso-bidi-font-style: normal;">Harmoniemesse</i><span style="text-align: justify;"> there
last evening only made me long more for the gloriously light and festive
architecture I had seen in Germany </span><a href="http://emulatio.blogspot.com/2014/09/a-more-nuanced-view-of-enlightenment.html" style="text-align: justify;">almost
a year ago</a><span style="text-align: justify;">. Why, as the website proclaims conductor “Carlos
Kalmar pairs this ephemeral piece with John Adams' score that praises and
parodies lush Romantic harmony” is beyond me. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfUcT5MOY6HUsU-bJ2PwsWwgivA1CDmXWBXgBAdlL5e_sRRAD9EMQ73xR39fTxOuw9Lwqzjr0BGnAOZBbWCypLQP31F4ji4CX_k7kPS6WkGxn0LVcf1mn9iZGcyD36VwQaW-4V4hKYFsY/s1600/pritzker_stage.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfUcT5MOY6HUsU-bJ2PwsWwgivA1CDmXWBXgBAdlL5e_sRRAD9EMQ73xR39fTxOuw9Lwqzjr0BGnAOZBbWCypLQP31F4ji4CX_k7kPS6WkGxn0LVcf1mn9iZGcyD36VwQaW-4V4hKYFsY/s320/pritzker_stage.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Surprise! The stage framed by engineered wood is symmetrical.<br />Wouldn't be too hard to come up with a classical alternative...</i></td></tr>
</tbody></table>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">The more time I’ve spent in
Chicago this summer the more I’m aware of the relentless insistence on
juxtaposing Modernist with older music: try to find a program at Symphony
Hall that can’t let an 18<sup>th</sup> century composition go unchallenged with
a 19<sup>th</sup> or 20<sup>th</sup> century piece. Ravinia’s music festival
had not one Early Music concert this entire summer (I had heard Jordi Savall
there several years ago), and precious little truly classical music. It’s not
as if the music of Hayden and before is difficult—au contraire, it’s the later
stuff, especially of the 20<sup>th</sup> and 21<sup>st</sup> centuries, that is
often unlistenable, or at best taken like a bitter pill. A spoonful of medicine
helps the sugar go down, the Chicago cultural Brahmins seem to believe.<o:p></o:p></span></div>
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<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyJ4TsL1XDIeb8QxaL2XNI1f3x2NwSLVHmITcLDsvyFfn7Rmegjo9eO2F18xeUvzzuqtNC0M87y2YetrK8izwglK4QJFMO0mfMgFw3b_7k08vRg7RK4bwPEL8KC_4OYLpB8Q2xKzyrbg4/s1600/pritzker_stage_dtl.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyJ4TsL1XDIeb8QxaL2XNI1f3x2NwSLVHmITcLDsvyFfn7Rmegjo9eO2F18xeUvzzuqtNC0M87y2YetrK8izwglK4QJFMO0mfMgFw3b_7k08vRg7RK4bwPEL8KC_4OYLpB8Q2xKzyrbg4/s200/pritzker_stage_dtl.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The stage itself:<br />I guess they ran out of money <br />after all that titanium...</i></td></tr>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">While
I’m on a mild rant, let me ask why the concert tickets were so expensive (I
know the lawn is effectively free) when more than half the seats went unsold?
Why not charge half the price and fill more seats? The Art Institute is heading
the same way with its increasingly prohibitive ticket prices.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">As
the program noted, Hayden said in response to questions about his faith, “‘When
I think of the Grace of God, my heart is so full of joy that the notes fairly
dance and leap from my pen.’ Jacob [H. E., the composer’s first biographer] went
on to make the sage observation that ‘Haydn and Mozart did not write their
church music for the gloom of a medieval Gothic cathedral. They composed
instead for the sun-drenched rococo churches of their own time, with their riot
of inside color. All the churches of Austria and Southern Germany glittered in
white, blue and gold. Painted wooden angels with puffed cheeks and windswept
garments were stationed near the choir, and often The Holy Trinity was
surrounded by hosts of laughing saints, to help the churchgoers forget the
sobrieties of their daily life. Even fairs, with carousels, were held close to
the church.’ There is little music that mixes divine wonder and human joy as
successfully as do these last works of Haydn’s genius.”<o:p></o:p></span><br />
<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><br /></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi18TvC2llfXCkHxaTllmyPbKPQCeb95InIBY6fsKEppNG0yA1D3peOkMZy8Kgzp0pcXuxRbxUv3a8ALOhe_pywNAVr0hnhxWFO4z0jONc85OTgJJ0JSZIhX3GpUmXtiHIuJd2HebzYpI8/s1600/maria_steinbach_wide.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi18TvC2llfXCkHxaTllmyPbKPQCeb95InIBY6fsKEppNG0yA1D3peOkMZy8Kgzp0pcXuxRbxUv3a8ALOhe_pywNAVr0hnhxWFO4z0jONc85OTgJJ0JSZIhX3GpUmXtiHIuJd2HebzYpI8/s640/maria_steinbach_wide.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The small, "provincial" church of Maria Steinbach in Bavaria</i></td></tr>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">How
nice it would be to hear such glorious music in a place attuned to it...<o:p></o:p></span></div>
</div>
Emulatiohttp://www.blogger.com/profile/11773405982717176805noreply@blogger.com0tag:blogger.com,1999:blog-4004767258734318262.post-3004669669177058602015-06-22T22:21:00.000-04:002015-06-25T10:18:57.649-04:00Laudata Siena<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: 'Times New Roman';"><span style="color: #b45f06; font-size: x-large;"><i>The
World Pope Francis Advocates Already Exists: It’s Called Tuscany</i></span></span></div>
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<br /></div>
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143. Together with the patrimony of
nature, there is also an historic, artistic and cultural patrimony which is
likewise under threat. This patrimony is a part of the shared identity of each
place and a foundation upon which to build a habitable city. It is not a matter
of tearing down and building new cities, supposedly more respectful of the
environment yet not always more attractive to live in. Rather, there is a need
to incorporate the history, culture and architecture of each place, thus
preserving its original identity. Ecology, then, also involves protecting the
cultural treasures of humanity in the broadest sense. <o:p></o:p></div>
<div class="MsoNormal" style="margin-left: .5in;">
Encyclical Letter <i style="mso-bidi-font-style: normal;">Laudato Si’</i> Of The Holy Father Francis,
18 June 2015<o:p></o:p></div>
<div class="MsoNormal" style="margin-left: .5in;">
p. 42<o:p></o:p></div>
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<br /></div>
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156. Human ecology is inseparable
from the notion of the common good, a central and unifying principle of social
ethics. The common good is “the sum of those conditions of social life which
allow social groups and their individual members relatively thorough and ready
access to their own fulfilment”.<u>[122]</u><o:p></o:p></div>
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pp. 45-6<o:p></o:p></div>
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<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdsQ9Uvu_Bw3mT5huPcOzqIe6SgmbuVfIk0rD-kBFAh9UCn2WMd_MWauqnysHfeBBx1Iycwd0mBw2FuLt4zkgVB9a1oqW2tXzTrLwwaIcosDCyjsQEQa0SVw34J72CKLT49spzXNLPr0o/s1600/Siena_south2web.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdsQ9Uvu_Bw3mT5huPcOzqIe6SgmbuVfIk0rD-kBFAh9UCn2WMd_MWauqnysHfeBBx1Iycwd0mBw2FuLt4zkgVB9a1oqW2tXzTrLwwaIcosDCyjsQEQa0SVw34J72CKLT49spzXNLPr0o/s320/Siena_south2web.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">View of Siena from the south</td></tr>
</tbody></table>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">With
the release of Pope Francis’ <a href="http://w2.vatican.va/content/francesco/en/encyclicals/documents/papa-francesco_20150524_enciclica-laudato-si.html" target="_blank">encyclical on the environment</a> it might be said
that there is no longer any excuse of ignorance for ignoring our common home.
It should also be borne in mind, though, that the situation he fears and the
future he hopes for are equally evident already on the planet—the former in so
many places built in the last century and a half, the latter in the world we
inherited from before. Where that older world has not been destroyed, even if
only preserved and not augmented, a vision of what the world could be is
available, tangible, and accessible. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwP2gCHhF1-NJp9e-aWqfAntxrXD4OpareDt_axPxEE4phYzyPNugj6R5nm7ycwEdrbyTu7qQMY50adVoOQ4BHGTrgae45IQeTC86pOEixm8DTQgSlu0IeE1CxU5P114UBQ1RjlEZ8spc/s1600/good-government.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="401" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwP2gCHhF1-NJp9e-aWqfAntxrXD4OpareDt_axPxEE4phYzyPNugj6R5nm7ycwEdrbyTu7qQMY50adVoOQ4BHGTrgae45IQeTC86pOEixm8DTQgSlu0IeE1CxU5P114UBQ1RjlEZ8spc/s640/good-government.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Virtues of the well-governed city on the left, <br />
and their effects on city and countryside on the right</td></tr>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">The
common good was painted in Ambrogio Lorenzetti’s fresco of the <i style="mso-bidi-font-style: normal;">Allegory of Good and Bad Government</i> in
the Siena town hall as the “ruler” of the well-governed city. As the city in
the fresco is understood to represent the real city outside, so too is the harmonious
and fertile frescoed landscape meant to be continuous with the real landscape
outside the room’s only window. This is how I summed it up in my book <i style="mso-bidi-font-style: normal;"><a href="http://www.amazon.com/gp/product/0813342988/sr=8-1/qid=1153223477/ref=pd_bbs_1/002-8038748-7490431?ie=UTF8">Timeless
Cities</a></i>:<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">"Lorenzetti’s attention to detail and the
rich complexity of life he shows must have made his fresco seem very “real” to
his fourteenth century audience; he also, consciously, wrote the inscription
carried by Securitas in Tuscan rather than Latin, to make it accessible to a
wider public. The real world is also intertwined with the allegorical world in
the <i style="mso-bidi-font-style: normal;">Good and Bad Government</i> tableau
by frescoing only three walls of the Room of the Nine, leaving the fourth,
exterior wall (flanked in the corners by the extensions of good government of
the city into the painted countryside) open through its large windows to the
real Sienese landscape beyond, thereby blurring the distinction between
illusion and actuality: just as the real city of Siena is alluded to in the
image of the well-governed city by the way one enters the room, so too the
well-governed <i style="mso-bidi-font-style: normal;">contado</i> is extended
from the fresco out through the room’s real windows to the landscape beyond. Here,
by means of this single simple leap from the fictive landscape of the painting
to the real Sienese countryside available outside the window, practical
politics (the actual “good” Government of the Nine which takes place daily in
the room) ideally merges with the painted allegorical Virtues (the figures
surrounding the good governor) and the sacred realm (in the form of the <i style="mso-bidi-font-style: normal;">mater misericordia</i> frescoed in the
preceding room and embodied in the very shape of the piazza outside) in a
complex sequence of scenes which iconographically convey many potential
symbolic readings simultaneously, while their novel realism speaks directly to
the humblest petitioner. As a work of art the fresco is almost inexhaustible in
its possible levels of a appreciation. As a moral message it is both a promise
to the citizens and an admonishment to their leaders. As an architectural ideal
it both sums up and spurs an urban vision that would receive additional
fleshing out over the next three centuries."<o:p></o:p></span></div>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUr5R88p_0yrWsaI7g0Y7r6oYhfb9utipTR_xuW9-NOZ6HpLif7dBFTRNjOkUCZYrCLwJt6Z8L8-l8B8sGqIUS67JYl2IcNNWn6pGRSNlh22EU5fIJNHf-kQLpb5RwKI8YrZqJvDqgBj0/s1600/siena_south.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUr5R88p_0yrWsaI7g0Y7r6oYhfb9utipTR_xuW9-NOZ6HpLif7dBFTRNjOkUCZYrCLwJt6Z8L8-l8B8sGqIUS67JYl2IcNNWn6pGRSNlh22EU5fIJNHf-kQLpb5RwKI8YrZqJvDqgBj0/s400/siena_south.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Looking south from the campanile of the Palazzo Pubblico</td></tr>
</tbody></table>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Siena
and its landscape remain humane, beautiful, and sustainable. It has been a
choice to preserve them, but the fact that they exist means we can also choose to
make them again, wherever there is the will.<o:p></o:p></span></div>
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Emulatiohttp://www.blogger.com/profile/11773405982717176805noreply@blogger.com0tag:blogger.com,1999:blog-4004767258734318262.post-10679039181246167462015-06-12T09:01:00.000-04:002015-06-12T09:02:07.732-04:00Virtuosity and Emulation<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="color: #990000; font-size: x-large;"><i>Follow-up
to <a href="http://www.emulatio.blogspot.it/2015/05/an-academy-of-emulation.html" target="_blank">An Academy of Emulation</a></i></span><o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2Mw30TDb2ozhTXdHdjMsvZICesIJ9XpM63oY_Nw5gp2aHcqu_VKNd4E-w0fSS3qOSCnVYhZXEde2-GbJOP8o-Cciwoq4HFLPjXBBDedebMR4sp51GEtkNANafGdS1ZiOPs0_it91rr2g/s1600/Rubens_The_Feast_of_Venus_Google_Art_Project.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2Mw30TDb2ozhTXdHdjMsvZICesIJ9XpM63oY_Nw5gp2aHcqu_VKNd4E-w0fSS3qOSCnVYhZXEde2-GbJOP8o-Cciwoq4HFLPjXBBDedebMR4sp51GEtkNANafGdS1ZiOPs0_it91rr2g/s640/Rubens_The_Feast_of_Venus_Google_Art_Project.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rubens, <i>The Feast of Venus</i></td></tr>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">At some level the idea of an academy of
emulation encapsulates the general practice of emulation. In other words, what
is taught is what an emulative artist would do (and continue to do throughout
her or his career). To make the implications of this more clear—and to clarify
perhaps how Old Master artists saw their challenges—I would distinguish two categories
of techniques of classical work in the emulative tradition: techniques
necessary for invention, and “pro forma” techniques. What I’m suggesting is
that artists like Rubens, Cortona or Pittoni displayed their virtuosity by a
combination of pro forma displays of accomplishment (part of the art of
documentation), and more daring techniques proper to invention. Primarily
(unless he was working on portraiture) Rubens would have privileged invention,
with documentation as a necessary but complementary display of his mastery.
Those two categories were composed of the following aspects:<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="color: #990000;"><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">I.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--></span><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="color: #990000;">Techniques Necessary for Invention</span><o:p></o:p></span></div>
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<li><span style="font-family: 'Times New Roman';">Foreshortening</span></li>
<li><span style="font-family: 'Times New Roman';">Rotating
figures in space</span></li>
<li><span style="font-family: 'Times New Roman';">Projecting
shadows</span></li>
<li><span style="font-family: 'Times New Roman';">Reflected
lights (luminosity)</span></li>
<div style="text-align: left;">
</div>
<li><span style="font-family: 'Times New Roman';">Spatial
depth/layering</span></li>
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<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEion64n_qsADSZ-biLhHLjexTqw_90FsuroJvb4UxwtHFv3I2aODO6RPzZeeejC9q24Fg8NzFpGpgXMOUB6JzIsSfn-gDZYb5P38VGx2MNgSYsPxy5VHBqqHSO-hUkB9NicJZ1Hui6m2xY/s1600/rubens_feast_of_venus_layering.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEion64n_qsADSZ-biLhHLjexTqw_90FsuroJvb4UxwtHFv3I2aODO6RPzZeeejC9q24Fg8NzFpGpgXMOUB6JzIsSfn-gDZYb5P38VGx2MNgSYsPxy5VHBqqHSO-hUkB9NicJZ1Hui6m2xY/s320/rubens_feast_of_venus_layering.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Spatial layering in Rubens</td></tr>
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</span></span></span><!--[endif]--></span><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="color: #990000;">Pro-forma Techniques</span><o:p></o:p></span></div>
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(even if, and generally more commonly, fragmentary)</span></li>
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and textures (the “still life” aspect)</span></li>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeGvJFe0cmD5uRz6ibg_nGictaS5Fz8EqvJG-SzlItWkUMLAzcRX5z85jbUJHvPNQLvNJtHtdLdYwneCC0NYoOdAlvMPHI3_cFQ0RTMrqsDwUs-qNwlFZxBun2pl22yRqJGArCs9bGAog/s1600/rubens_feast_of_venus_stillife.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeGvJFe0cmD5uRz6ibg_nGictaS5Fz8EqvJG-SzlItWkUMLAzcRX5z85jbUJHvPNQLvNJtHtdLdYwneCC0NYoOdAlvMPHI3_cFQ0RTMrqsDwUs-qNwlFZxBun2pl22yRqJGArCs9bGAog/s320/rubens_feast_of_venus_stillife.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Still life in the <i>Feast of Venus</i></td></tr>
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<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtWUlwR6wnWVjnoZZuMnhaEL93_GX7-l5mRO04GJce-ZHaxS7iYRVLycKcks0NRgHMOEtHcV5l3k4wezxpSFDm8Fxp2zoyhngP3P3JAfoZsRipapYbLtXDTyfsnA4RtZzAhuzchBzyiGA/s1600/Pittoni_The_Sacrifice_of_Polyxena_Google_Art_Project.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtWUlwR6wnWVjnoZZuMnhaEL93_GX7-l5mRO04GJce-ZHaxS7iYRVLycKcks0NRgHMOEtHcV5l3k4wezxpSFDm8Fxp2zoyhngP3P3JAfoZsRipapYbLtXDTyfsnA4RtZzAhuzchBzyiGA/s320/Pittoni_The_Sacrifice_of_Polyxena_Google_Art_Project.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">G. B. Pittoni, <i>The Sacrifice of Polyxena</i></td></tr>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">The pro forma aspects are those things
about which the consummate academic artist, Carlo Maratta, claimed <i style="mso-bidi-font-style: normal;">tanto che basti</i>—all that’s enough—in his
polemical print addressed to students of drawing. One only needed, and should
not usually exceed, enough of those pro forma displays to establish the
credibility of the invented image. Since the image was a scene often difficult
to pose or stage in the studio—think of ceiling paintings, or scenes of battle
or martyrdom—invention was the thing, and artists primarily studied the figure
in order not to need the model while inventing. Being able to imagine a figure
turned, even hovering, in space, extending an arm and projecting a shadow or
receiving a projected shadow from a distant object, making light bouncy and
lively, and creating the illusion of space and depth beyond what could be
achieved with linear perspective: this was the stuff of mastery, of virtuosity.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Invention techniques need imagination,
pro forma techniques depend on documentation. The experience of documentation
trains the imagination—not forgetting, of course, the documentation of
exemplary works of art!<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAKBAKMOgrOyaaoZ9J5DMVCpVY2OV0fNBz-fGWl8QDe5wtWcQ0PbHhQQxjXSr9xpvhMC1lCqMlYzXrrW_5mwFvYHixEfA-y7a7bp_oxE6-diSzux-Q3V8i4b3L67ZE_qLZod7PYxqiATU/s1600/pittoni_polyxena_stillife.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAKBAKMOgrOyaaoZ9J5DMVCpVY2OV0fNBz-fGWl8QDe5wtWcQ0PbHhQQxjXSr9xpvhMC1lCqMlYzXrrW_5mwFvYHixEfA-y7a7bp_oxE6-diSzux-Q3V8i4b3L67ZE_qLZod7PYxqiATU/s320/pittoni_polyxena_stillife.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Still life</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Perspective and spatial layering</td></tr>
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Emulatiohttp://www.blogger.com/profile/11773405982717176805noreply@blogger.com0tag:blogger.com,1999:blog-4004767258734318262.post-91693916743231863332015-05-10T13:36:00.000-04:002015-05-10T16:32:54.691-04:00AN ACADEMY OF EMULATION<div dir="ltr" style="text-align: left;" trbidi="on">
<i style="text-align: justify;"><span style="color: #666666; font-family: Times, Times New Roman, serif; font-size: x-large;">What
Would An Academy Of Emulation Look Like?</span></i><br />
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;"><span style="color: #990000; font-size: large;">The Reasons We
Learn To Draw:</span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;">I. to see<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;">if
we can’t see, we can’t understand<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;">II. to understand<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;">if
we don’t understand, we won’t remember<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;">III. to remember<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;">Memory
is the mother of the Muses<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;"><span style="color: #990000;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;"><span style="color: #990000; font-size: large;">The Role Of
Drawing In Making Art:</span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;">I. exploration<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;">invention
is the <i style="mso-bidi-font-style: normal;">search</i> for form<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;">II. invention<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;">invention
is not <i style="mso-bidi-font-style: normal;">a priori</i>, it is <i style="mso-bidi-font-style: normal;">discovered</i> through drawing<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;">III. refinement<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;">once
we have invented, we need to refine in order to make Beauty<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;"><span style="color: #990000;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;"><span style="color: #990000; font-size: large;">How Drawing For
Study Influences Drawing For Invention:</span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;">I. what you draw
conditions what you invent<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;">you
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<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;">II. how you draw
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<div class="MsoNormal" style="margin-left: .5in; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;">drawing
after masters shapes your hand in a similar way to theirs<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;">III. how you invent
conditions how you draw (which conditions how you invent…)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;">your
facility in invention facilitates your learning by drawing<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;"><span style="color: #990000;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;"><span style="color: #990000; font-size: large;">Masters Are As
Important As Models:</span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;">I. exemplary art
frames our aspirations<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;">other
artists have defined a range of possibilities, and standards of achievement<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;">our
art is understood, evaluated, and interpreted with respect to theirs<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;">we
form virtual apprentices to these past masters<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;"><span class="st">II. <i>Ceci
n'est pas une pipe</i></span><span class="st">
(</span>this
is not a pipe): a picture is not the subject, it is an object<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;"><span class="st">a painting is both a
depiction of something else, and a material object with its own qualities
(influenced by the material itself and the artist’s hand)</span><span class="st"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-left: .5in; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;"><span class="st">painterly technique
is what distinguishes the subject from the object</span><span class="st"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-left: .5in; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;"><span class="st">therefore, how you
paint is just as important as what you paint</span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;">III. the greatest
masters were great thinkers (as Bernini described Poussin, <i style="mso-bidi-font-style: normal;">un grande cervelone</i>, a great big brain)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;">we
don’t copy them, we emulate them<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;">therefore,
we need to understand them, and therefore<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;">they
need to be understandable<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;"><span style="color: #990000;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;"><span style="color: #990000; font-size: large;">The Theme Is
At Least As Important As Technique:</span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;">I. we learn to
paint in order to compellingly convey stories and ideas<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;">II. the classic
subjects of paintings are what sponsor and condition classical form<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;">III. how an artist
painted Dido is just as important as how he or she painted shadows<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbpV8_w06JdXOQ5cYrHVyGsSQg8IuHZ7RXjWtgKk_x5WkvJZeyhCsWyhZQ6KMKeFd_i7_voa7wtSdXm2fWcUClYidYMxAlsswKv-H_ODGzt3-Hl5ZAJKkxtFJXRcSF2I8UVsG9Hic-JxA/s1600/del-Sarto-Isaac-crop.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbpV8_w06JdXOQ5cYrHVyGsSQg8IuHZ7RXjWtgKk_x5WkvJZeyhCsWyhZQ6KMKeFd_i7_voa7wtSdXm2fWcUClYidYMxAlsswKv-H_ODGzt3-Hl5ZAJKkxtFJXRcSF2I8UVsG9Hic-JxA/s400/del-Sarto-Isaac-crop.jpg" width="283" /></a></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times, Times New Roman, serif;">This should
clarify what would distinguish an academy of emulation (a truly classical
academy) from an academy of imitation, which is most if not all of the
academy’s out there; schools of realism more than academies per se, they are more
properly ateliers, where one learns someone’s way of painting, rather than
learning to think about and understand the nature of painting. An academy of
emulation is directed toward invention, an academy of imitation is directed
toward documentation.<o:p></o:p></span></div>
<br /></div>
Emulatiohttp://www.blogger.com/profile/11773405982717176805noreply@blogger.com0tag:blogger.com,1999:blog-4004767258734318262.post-87804637218909946492015-03-08T12:29:00.000-04:002015-03-16T08:16:32.783-04:00DECORUM<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: 'Times New Roman';"><span style="font-size: x-large;"><i>And
Art Today</i></span></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Recently
the artist Nelson Shanks revealed a secret in the shadows of his painting of
Bill Clinton:<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><a href="http://www.npr.org/blogs/thetwo-way/2015/03/02/390196140/clintons-portrait-has-hint-of-lewinskys-blue-dress-artist-says">http://www.npr.org/blogs/thetwo-way/2015/03/02/390196140/clintons-portrait-has-hint-of-lewinskys-blue-dress-artist-says</a><o:p></o:p></span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJtV0bSfM2epLnsumZdFSdaWr_4GugH9dJPfuD2s1T6yGGyzXumrboh3WerACPU3I1YVHZVwnB9kT_E8UnnJV_Gikr0pxarjWpe9jWde1LmTChtBGZ0zRzXP_sOfbS2__fcHiA6zJqxBU/s1600/Titian_Paul_III.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJtV0bSfM2epLnsumZdFSdaWr_4GugH9dJPfuD2s1T6yGGyzXumrboh3WerACPU3I1YVHZVwnB9kT_E8UnnJV_Gikr0pxarjWpe9jWde1LmTChtBGZ0zRzXP_sOfbS2__fcHiA6zJqxBU/s1600/Titian_Paul_III.jpg" height="320" width="280" /></a></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">The
story rippled around the web, some reveling, some reviling. Apropos emulation,
let me just offer as an antidote to Shanks’ rather too subtle, for-artists-only
joke about the color of shadows, Titian’s famous portrait of Pope Paul III and
his two nephews. A portrait for a sitting pope, kept in the family for
centuries (thus its arrival at the Capodimonte Museum in Naples), with such
almost painful depictions of the natures of each subject, involves cojones on
par with <a href="http://en.wikipedia.org/wiki/Stephen_Colbert_at_the_2006_White_House_Correspondents%27_Association_Dinner">Stephen
Colbert’s White House Correspondents Association Dinner in 2006</a>, and is hard to
imagine pulling off today. But when artists thought more about the art of representation, its rhetoric and poetics, and dealt with the implicit decorum of classical
portraiture, such inside jokes were not (as in the Shanks) the most interesting
part of the painting. The Clinton portrait lacks any sense of composition (look
how it slides off to the left, clipping the ionic column of the mantel), is rather
blandly or neutrally lit, and seems almost obsequious in its youthful portrayal
of its subject. Not here the penetrating portraiture of a Velazquez and his painting of Pope
Innocent X, who exclaimed upon seeing it, “<i style="mso-bidi-font-style: normal;">Troppo
vero</i>.” Too true, indeed. Realism has killed portraiture.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Instead,
classical painting’s privileging of allegory, narrative, and the classical
ideal makes for much more interesting, long-lasting stuff:<o:p></o:p></span></div>
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<a href="http://www.irishtimes.com/culture/books/james-barry-s-murals-at-the-royal-society-of-arts-review-to-the-grand-manor-born-1.2077173"><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">http://www.irishtimes.com/culture/books/james-barry-s-murals-at-the-royal-society-of-arts-review-to-the-grand-manor-born-1.2077173</span></a><span class="MsoHyperlink"><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></span></div>
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<br /></div>
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<span class="MsoHyperlink"><span style="color: windowtext; font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; text-decoration: none; text-underline: none;">And once upon a time art had a meaningful relationship
with the other arts, because they participated in a larger, comprehensive
cultural <i style="mso-bidi-font-style: normal;">weltanschauung</i>:<o:p></o:p></span></span></div>
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<a href="http://www.metmuseum.org/exhibitions/listings/2015/painting-music-age-of-caravaggio"><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">http://www.metmuseum.org/exhibitions/listings/2015/painting-music-age-of-caravaggio</span></a><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">So,
save us from ourselves, or from those who want to save us, like <a href="http://www.drb.ie/essays/the-uses-of-art">Alain de Botton’s idea of what
art is for</a>:<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">He suggests a
fifth way, therapeutic, so that in future the Tate could have as an objective
to meet the psychological needs of the nation. He even goes so far as to
outline seven psychological needs which could be met by art; remembering, hope,
sorrow, re-balancing, self-understanding, growth, appreciation. But the key
message repeated in different guises throughout his work is that we could all
benefit from regular guidance; “despite the powerful elite prejudice against
guidance works of art are not diminished by being accompanied by instruction
manuals </span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: Monaco; mso-bidi-font-family: Monaco; mso-bidi-font-size: 12.0pt;">‑</span></i><span style="font-family: 'Times New Roman';"><i> art has a clear function: it is a therapeutic
tool to help us lead more fulfilled lives”. - </i>See more at:
<a href="http://www.drb.ie/essays/the-uses-of-art#sthash.cHAkVlEJ.dpuf">http://www.drb.ie/essays/the-uses-of-art#sthash.cHAkVlEJ.dpuf</a><i><o:p></o:p></i></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">On
where we are vis-à-vis the canon, here is Arthur Krystal, “<a href="http://chronicle.com/article/What-We-Lose-if-We-Lose-the/150991/" target="_blank">What We Lose if We Lose the Canon</a>”. </span>But
like most people today (obviously not attuned to his canonical authors' ways of
thinking), he confuses imitation and emulation:</div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Too much
veneration for Homer, Pindar, and the Greek playwrights; for Seneca, Cicero,
Virgil, and Ovid would only compel modern poets to emulate them.</span></i><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">“Only”
emulate them? I think the author means imitate, because there is no such thing
as only emulating, emulation primarily being about rivaling, exceeding in some
way or another. Dante “only” emulated Virgil...<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">One
could argue architecture has a similar canon, in so much as it has affinities
to the liberal arts; and while I don’t endorse the particulars I do wish more
schools of architecture thought <a href="http://harvardmagazine.com/2015/01/architecture-as-liberal-art">a bit
like Harvard does</a> about what they were doing.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Finally,
what the camera did to painting the computer is doing to architecture:<o:p></o:p></span></div>
<div class="MsoNormal">
<a href="http://digg.com/video/this-just-looks-like-an-apartment-until-you-realize-its-a-simulation?utm_source=digg&utm_medium=email"><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">http://digg.com/video/this-just-looks-like-an-apartment-until-you-realize-its-a-simulation?utm_source=digg&utm_medium=email</span></a><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">The
camera didn’t, in fact, kill painting. It begged the question of the value of
realism, not of representation per se; but because realism and representation were
becoming conflated and confused around the time the camera emerged, it was
thought <i style="mso-bidi-font-style: normal;"><a href="https://nplusonemag.com/online-only/online-only/this-will-kill-that/">ceci
tuera cela</a></i>. Only when you lose the sense of what your art does, do
you, in fact, let it die…<o:p></o:p></span></div>
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Emulatiohttp://www.blogger.com/profile/11773405982717176805noreply@blogger.com0tag:blogger.com,1999:blog-4004767258734318262.post-55528856725605113012014-12-23T14:12:00.000-05:002015-01-01T12:45:53.332-05:00Untrodden Territory<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: 'Times New Roman';"><span style="color: #990000; font-size: x-large;"><i>The
Challenge of Emulation</i></span></span></div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Many art
historians will be taken aback by the unapologetic nature of these proposals,
but one can appreciate Mayernik’s book even while rejecting some of his
premises because it offers something essential to discussions of Renaissance
imitative practice: an insistence on the artists’ creative engagement with
tradition.<o:p></o:p></span></i></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Elena
Calvillo, review of <i style="mso-bidi-font-style: normal;">The Challenge of
Emulation in Art and Architecture</i>, in <i style="mso-bidi-font-style: normal;">Renaissance
Quarterly</i>, Winter 2014, p. 1332<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">I<span style="font-family: Times, Times New Roman, serif;">’m
pleased <i style="mso-bidi-font-style: normal;">The Challenge of Emulation in Art
and Architecture</i> was </span></span><span style="font-family: Times, Times New Roman, serif;"><a href="http://www.jstor.org/discover/10.1086/679806?uid=3738296&uid=2129&uid=2&uid=70&uid=4&sid=21105479041293"><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">recently
reviewed in <i style="mso-bidi-font-style: normal;">Renaissance Quarterly</i></span></a><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"> (Winter 2014).
The reviewer argues that what I cover in the book is “well trod,” but in fact
during my research and since I have not come across much, if any, Renaissance
or Baroque scholarship that explicitly and correctly uses the term “emulation,”
with its sense of rivalry (i.e. aiming at victory, in the words of Erasmus):
certainly no studies on the visual arts, apart from those on ancient Roman
sculpture and Napoleonic painting, where emulation is the primary theme. I
don’t think, in fact, historians are attuned to an emulative mode of thinking,
precisely because, as the reviewer notes, the notion of advancement in the arts
is foreign to them; historians are good at tracking down artists’ sources and
precedents because it is not unlike what they do in the archives, but they
don’t allow themselves to think in terms of better or worse, and don’t
recognize artists’ competitive streak because they don’t share it (not to imply
that historians aren’t competitive with each other, but it’s not as dominant a
trait as it was for the artists they study). Anthony Grafton and </span>James Grossman<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">’s </span><a href="https://theamericanscholar.org/habits-of-mind/#.VJLjdyd1nSk"><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">recent essay in
<i style="mso-bidi-font-style: normal;">The American Scholar</i></span></a><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"> is quite good
on the humility required of the historical researcher.<o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsCiVmkf2nEOePdhWxXS5PtbK25esCkrwHN1MH7bf9HicvUV4ZQZYW-qKt8oXYL29ETvCJ5g40q5ctQ0xwhuDVm68j9CvFR-QDRmqLk6JIitpEiqYOpngFUFVM-5n4AzwK8OimhXWWrxE/s1600/rohan_detail.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: Times, Times New Roman, serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsCiVmkf2nEOePdhWxXS5PtbK25esCkrwHN1MH7bf9HicvUV4ZQZYW-qKt8oXYL29ETvCJ5g40q5ctQ0xwhuDVm68j9CvFR-QDRmqLk6JIitpEiqYOpngFUFVM-5n4AzwK8OimhXWWrxE/s1600/rohan_detail.jpg" height="320" width="213" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: Times, Times New Roman, serif; font-size: small;">Robert de Cotte, Palais Rohan, Strasbourg<br />detail</span></i></td></tr>
</tbody></table>
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<span style="font-family: Times, Times New Roman, serif; mso-bidi-font-size: 12.0pt;">Sine
it’s been a year since the book appeared, it may be worth commenting on the
difficulty I’ve found in getting the book reviewed, and even being invited to
lecture on it by ostensibly sympathetic organizations like the ICAA (their
Washington DC chapter being a notable exception, for which I’m grateful). I was
also surprised to find at last February’s INTBAU conference <i style="mso-bidi-font-style: normal;"><a href="http://www.intbau.org/unpacking-rethinking-pastiche-london-17-19-february-2014/" target="_blank">Unpacking Pastiche</a></i> that some of my
colleagues, leaders in “traditional” architecture, weren’t troubled by the
concept of pastiche, indeed proudly claim to practice it. Clearly, then, the
notion of emulation is, if not only foreign to most contemporary classicists
and traditionalists, in fact troubling. It seems to fly in the face of the
deference they display to past heroes, even minor ones.<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">If
pastiche is not as problematic as it should be for classicists, what about
kitsch? Roger Scruton can’t help reveling in kitsch’s durability in the face of
modernist condescension (recently for the </span><a href="http://www.bbc.com/news/magazine-30439633"><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">bbc magazine</span></a><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">, 15 years ago
for </span><a href="http://www.city-journal.org/html/9_1_urbanities_kitsch_and_the.html"><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">City Journal</span></a><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">), but surely
an argument for tradition or the classical shouldn’t cozy up to the vulgarities
of kitsch. Modernists were indeed right that, by the early twentieth century,
much academic and representational art had become either maudlin or cloying,
drained of intellectual force and inventive energy. That, though, is a problem
of the nineteenth century, but does not apply to art of the eighteenth or
earlier. So reconstituting representational art from its nineteenth-century
residue is not the thing to do, and certainly claiming kitsch as a defense of
representational art’s appeal doesn’t help either.<o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">An
unjustifiably forgotten book is </span>Michael Greenhalgh’s <i style="mso-bidi-font-style: normal;">The Classical Tradition in Art</i> (1978)<a href="https://www.blogger.com/blogger.g?blogID=4004767258734318262#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Times; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></span></a>. Greenhalgh argues
for the idea of the classical tradition as effectively a product of the
Renaissance; defines a living classical tradition as not slavishly devoted to
the past; and locates the death of the tradition with Ingres (I might located
it slightly earlier, but I too would position Ingres outside the idea of a
living classical tradition). For some reason the Renaissance and Baroque are
not today the defining periods for the classical that they were for Greenhalgh and
his generation, even as they were for Gromort; and it is in large measure this
that makes the idea of emulation anathema to contemporary classicists. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="font-family: Times, Times New Roman, serif;">As
we end a year and embark on another, here’s to the hope that the Renaissance
and Baroque are re-appreciated for their essential role in the classical
tradition. And that emulation is not feared, but embraced.</span><o:p></o:p></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=4004767258734318262#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: Times; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></span></span></a>
http://rubens.anu.edu.au/new/books_and_papers/classical_tradition_book/<o:p></o:p></div>
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Emulatiohttp://www.blogger.com/profile/11773405982717176805noreply@blogger.com0tag:blogger.com,1999:blog-4004767258734318262.post-58477613122980422152014-12-13T03:52:00.000-05:002014-12-23T18:51:50.373-05:00The Cast Party<div dir="ltr" style="text-align: left;" trbidi="on">
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<i style="background-color: #999999; color: white; font-family: 'Times New Roman'; font-size: xx-large;"> Shadows
of the Past </i></div>
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<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUO06cQgrKV5tkHKcQ6klIDVlHxKVv6D4o3LNQgWl0sDt3vbBT9TjvBv_JNP8AVckLcc57G7fuAyxORg_UdSKK-aZ2oA8xZKCi1NLfvd3uf_hGYytJ4NePebdb8BpskreUFG4PiNGz-lU/s1600/bartolini.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUO06cQgrKV5tkHKcQ6klIDVlHxKVv6D4o3LNQgWl0sDt3vbBT9TjvBv_JNP8AVckLcc57G7fuAyxORg_UdSKK-aZ2oA8xZKCi1NLfvd3uf_hGYytJ4NePebdb8BpskreUFG4PiNGz-lU/s1600/bartolini.jpg" height="238" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The Bartolini Collection at Florence's Accademia Museum</i></td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">The
week after my talk at the British Institute’s Harold Acton Library on 3
December, I visited the </span><a href="http://www.charlescecilstudios.com/"><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Charles Cecil
Studios in Florence</span></a><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">, where wonderful work is being done in the legacy
of Charles’ mentor </span><a href="http://en.wikipedia.org/wiki/R._H._Ives_Gammell"><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">R. H. Ives Gammell</span></a><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"> and his
forebears. On my way to the train later in the afternoon I stopped by the
Accademia Museum, happily relatively empty at this time of year. After the
monumental Michelangelo work, the </span><a href="http://www.accademia.org/it/esplora-il-museo/le-sale/gipsoteca-bartolini/"><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">room of
Bartolini casts</span></a><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"> had new resonance for me, with its recollection of the </span><a href="http://www.raffaelloromanelli.com/category.php?category_id=18&language=it"><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Romanelli casts</span></a><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"> connected to
the Cecil Studios in Borgo San Frediano.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Casts
have become, in the contemporary parlance, “a thing;” there is a site dedicated
to them <i style="mso-bidi-font-style: normal;">qua</i> artifacts:<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<a href="http://www.plastercastcollection.org/en/database.php?d=lire&id=319"><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">http://www.plastercastcollection.org/en/database.php?d=lire&id=319</span></a><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1-Oh3OZK_9HwlxnVKYPMWBTjLBm71w-0wrVU0udkn1PZH2xfc85NF_UXCEExhJbTWB-axgS5T1NScYPsWVol01ujHxQgqskTmIxPTIylO4f_Tzx30qM3KMqU3L8Q1xYD9E0ZvnkfrgOw/s1600/passaglia_oa.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1-Oh3OZK_9HwlxnVKYPMWBTjLBm71w-0wrVU0udkn1PZH2xfc85NF_UXCEExhJbTWB-axgS5T1NScYPsWVol01ujHxQgqskTmIxPTIylO4f_Tzx30qM3KMqU3L8Q1xYD9E0ZvnkfrgOw/s1600/passaglia_oa.jpg" height="400" width="297" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 13px; text-align: center;"><i>The Passagli Collection on Display at<br />Lucca's Palazzo Ducale</i></td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Once
upon a time casts were models of excellence, the choicest examples of ancient
and modern sculpture available in 3D for students, like the Passaglia
collection at Lucca’s <i style="mso-bidi-font-style: normal;">liceo artistico</i>:<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<a href="http://liceoartisticomusicalelucca.gov.it/gipsoteca"><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">http://liceoartisticomusicalelucca.gov.it/gipsoteca</span></a><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">But
at some point in the second half of the nineteenth century, they became white
forms with complex shadows and reflected lights to be </span><a href="http://www.cast-drawing.com/"><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">drawn meticulously</span></a><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"> in the academies;
they were no longer models to aspire to, paragons of Bellori’s </span><a href="http://www.davidmayernik.com/beautiful.html"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">l’Idea
del Bello</span></i></a><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">, but merely forms in light to serve aspiring drawing
students. That, in the end, is the difference between classicism and realism:
the extent to which casts are 1. ideal models to imitate and emulate, and 2.
more than stable figures without color. The casts are back after their
near-eradication in the middle of the twentieth century, in particular at the
many </span><a href="http://en.wikipedia.org/wiki/Classical_Realism#Atelier_schools"><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">ateliers and
so-called academies</span></a><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"> that have sprouted in the last two decades; but
are they, in a paraphrase of the title of <a href="http://yalepress.yale.edu/book.asp?isbn=9780300059793">Michael Baxandall’s
book</a>, shadows or enlightenment?<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><br /></span></div>
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POSTSCRIPT: The V&A's cast collection recently reopened, the media have their usual nonsensical take on things:</div>
<div class="separator" style="clear: both; text-align: left;">
<b><span style="font-size: small;"><a href="http://www.theguardian.com/artanddesign/2014/nov/25/victoria-and-albert-cast-courts-reopen" target="_blank">V&A’s cast courts of beautiful fakes reopen after three years</a></span> </b></div>
<div class="separator" style="clear: both; text-align: left;">
"Originally opened in 1873, the galleries were conceived as a definitive
collection of great works from Europe, full-size fragments of exotic
cathedrals and palaces, duplicated in London for all to see. It was an
aristocratic grand tour for the armchair explorer, conveniently
compressed into two rooms."</div>
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<br /></div>
<div class="separator" style="clear: both; text-align: left;">
I'm sorry, but who ever entered the V&A's cast gallery and was deceived into thinking he had been transported to Florence, or thought that the Florentines had sold the <i>David</i> to the British? I suppose calling them "fakes" imparts an edge of, well, edginess that <i>The Guardian</i> is expected to deliver to its readers. <i>Never mind the reality, here's the past....</i> Plus, the casts were, technically, not "duplicated in London" but in Paris, where some of the greatest casters were. And aristocrats still went on actual Grand Tours to Florence itself. Whatever.</div>
</div>
Emulatiohttp://www.blogger.com/profile/11773405982717176805noreply@blogger.com0tag:blogger.com,1999:blog-4004767258734318262.post-50544608820724906802014-11-17T15:48:00.000-05:002014-12-13T03:54:31.025-05:00Emulation Talk at the British Institute in Florence<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNormal">
<span style="color: #45818e; font-family: Times, Times New Roman, serif; font-size: x-large;"><i><b>Emulate
the Best</b></i></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">In
anticipation of my upcoming <a href="http://www.britishinstitute.it/en/event/558/lecture-david-mayernik-/">talk
at the Harold Acton Library of the British Institute in Florence</a>, I thought
I’d post this apposite extract from my favorite English poet, John Dryden:<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7wSAHruXzfHcruFzV5JIhfXWGPNyMRSxU7fw0dfAkey93mKuN71J5N6Yi8x8Z4r0VgV0mvKCCwOEt0ya3fVW-n0fp6DsUtD5pFTdi41Imt8n0rMhOrCPPyg0GhQ4UlixIKEKufnxsHIA/s1600/John_Dryden_by_Sir_Godfrey_Kneller.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7wSAHruXzfHcruFzV5JIhfXWGPNyMRSxU7fw0dfAkey93mKuN71J5N6Yi8x8Z4r0VgV0mvKCCwOEt0ya3fVW-n0fp6DsUtD5pFTdi41Imt8n0rMhOrCPPyg0GhQ4UlixIKEKufnxsHIA/s1600/John_Dryden_by_Sir_Godfrey_Kneller.jpg" height="320" width="256" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kneller's portrait of Dryden</td></tr>
</tbody></table>
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<span style="font-family: "Times New Roman";">Of
various Parts a perfect whole is wrought;<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman";">Thy pictures think, and we
Divine their Thought.<o:p></o:p></span></b></div>
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<span style="font-family: "Times New Roman";">*Shakespear,
thy Gift, I place before my Sight;<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";">With
awe I ask his Blessing e’re I write;<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman";">With
Rev’rence look on his Majestick Face;<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman";">Proud to be less, but of
his Godlike Race.<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman";">His
Soul Inspires me, while thy Praise I write,<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman";">And
like <i style="mso-bidi-font-style: normal;">Teucer</i>, under <i style="mso-bidi-font-style: normal;">Ajax</i> Fight;<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman";">Bids
thee thro’ me, be bold; with dauntless breast<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman";">Contemn the bad and Emulate
the best…<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman";">—John
Dryden, “To Sir Godfrey Kneller, Principal Painter to His Majesty”, from <i style="mso-bidi-font-style: normal;">Miscellanies</i> (1694), in <i style="mso-bidi-font-style: normal;">The Poems of John Dryden</i>, ed. John
Sargeaunt, Oxford Editions of Standard Authors, 1948, p. 168.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman";">*Shakespeare’s
<i style="mso-bidi-font-style: normal;">Picture drawn by Sir </i>Godfrey Kneller<i style="mso-bidi-font-style: normal;">, and given to the Author</i><o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman";">The
talk is open to members of the Library, but <a href="http://www.britishinstitute.it/en/library/membership.asp">joining the
Library</a> is rather straightforward, in person at the Institute.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">An
encouraging review of <i><a href="http://www.ashgate.com/default.aspx?page=637&calcTitle=1&isbn=9781409457671&lang=cy-gb" target="_blank">The Challenge of Emulation</a></i> has been published by the <i style="mso-bidi-font-style: normal;">Sacred Architecture Journal</i>:<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="color: #103cc0;"><a href="http://www.sacredarchitecture.org/reviews/the_golden_road_out_of_the_desert/">http://www.sacredarchitecture.org/reviews/the_golden_road_out_of_the_desert/</a></span><o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><i>And
here are some links to recent articles of interest:<o:p></o:p></i></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";"><a href="http://aeon.co/magazine/science/imitation-is-what-makes-us-human-and-creativ/"><span style="mso-bidi-font-size: 12.0pt;">http://aeon.co/magazine/science/imitation-is-what-makes-us-human-and-creativ/</span></a></span><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";"><a href="http://aeon.co/magazine/culture/anyone-can-learn-to-be-a-polymath/"><span style="mso-bidi-font-size: 12.0pt;">http://aeon.co/magazine/culture/anyone-can-learn-to-be-a-polymath/</span></a></span><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></div>
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Emulatiohttp://www.blogger.com/profile/11773405982717176805noreply@blogger.com0tag:blogger.com,1999:blog-4004767258734318262.post-11365819269568565482014-10-25T04:22:00.002-04:002014-12-13T03:55:26.389-05:00The Celebrated Architect<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: 'Times New Roman';"><span style="color: #990000; font-size: x-large;"><i>Praising
and Burying Carlo Fontana at the Accademia di San Luca</i></span></span></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsSF03hkKoUeGqG0Hwv3pzVtJsqC0R6Knc3VdzfdDwNMCStFzWJNf2OPOTGXJjOIJleMEgXNZsTu36QLWaOilEmmwRmQQYVgwUVjFCyxD2xga-Lx7i-ngCfMyWYQO7-zJc0CyDXRbLdBs/s1600/carlo_fontana.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsSF03hkKoUeGqG0Hwv3pzVtJsqC0R6Knc3VdzfdDwNMCStFzWJNf2OPOTGXJjOIJleMEgXNZsTu36QLWaOilEmmwRmQQYVgwUVjFCyxD2xga-Lx7i-ngCfMyWYQO7-zJc0CyDXRbLdBs/s1600/carlo_fontana.jpg" height="320" width="288" /></a></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">For
three solid days this past week Rome’s vestige of the Accademia di San Luca in Borromini's Palazzo Carpegna hosted
mostly Italian speakers (with a handful of Germans, a couple of Americans, and
one Frenchman) for <a href="http://www.accademiasanluca.eu/it/news/id/2033/carlo-fontana-1638-1714-br-celebrato-architetto" target="_blank">a conference</a> on the “celebrated architect” (that’s how he
had described himself) Carlo Fontana, </span><i style="mso-bidi-font-style: normal;"><span lang="IT" style="font-family: "Times New Roman"; mso-ansi-language: IT; mso-bidi-font-size: 12.0pt;">principe</span></i><span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"> of the Academy at the turn of the seventeenth
century. I’m rather partial to Fontana myself, both as a teacher (Gibbs, von Erlach,
Hildebrandt, and Juvarra were among his celebrated students) and architect; as
an architect he was Bernini’s heir, and if he lacked the master’s fertile
iconographic mind, he managed a sophisticated compositional approach to the <i style="mso-bidi-font-style: normal;">bel composto</i>, and virtually defined the
terms of early eighteenth-century Roman architecture. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">For
most of the conference the talks addressed particulars of Fontana’s atelier,
his collaborators and successors; his work for the theater; or the Colosseum
church project. Others focused on specifying his personal provenance,
cataloguing his lesser-known works, or looking at the mechanics of his
constructions. Most of these would qualify as praises, if faint; Paolo
Portoghesi, in his overlong talk, seemed more interested in burying Fontana as
an uninventive shadow of Bernini or Borromini—a rather outré opinion common
among an older generation of scholars. The majority of the Italians, many of
them architects, wanted to project onto Fontana’s operations the bureaucratic
realities of modern Italian building, a natural if regrettable predilection. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">There
was little in the way of his relationship with the elephant in the room, the
French Academy; essentially nothing on his compositional methods, his conception
of space, or his urbanism; less than nothing, if that’s possible, on his
iconography, the <i style="mso-bidi-font-style: normal;">concetti</i> Bernini
privileged in the artistic act. Implicitly, no one really took Fontana
seriously as an intellectual, a thinking artist. Instead, he was projected
unquestioningly as a solid practitioner, an able administrator both in the
field and in the academy, a clever political operator; coincidentally, many of
the mid-career Italian presenters could have been mistaken for habitués of the
Palazzo Madama.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">I
think there was a time, or I would like to think so, when the mission of
scholars was to try to understand the past on its own terms, not as a mirror of
ours. I also, fortunately, studied architecture at a time when history was
considered relevant to modern practice; postmodern relevance it may have been,
but it opened doors that seem to have closed again, perhaps even more
definitively this time. I feel bad for those young Italian scholars equipped
with a wealth of often esoteric information on specialist subjects, who aren’t
taught to integrate their knowledge into a larger frame and see it as
completely detached from modern practice (even as they, paradoxically, project
modern practice onto the past). I feel bad, but I can’t change it, and all I
can do is practice the alternative….<o:p></o:p></span></div>
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Emulatiohttp://www.blogger.com/profile/11773405982717176805noreply@blogger.com0tag:blogger.com,1999:blog-4004767258734318262.post-6470554079030846522014-09-26T15:43:00.001-04:002014-10-01T06:40:35.492-04:00The Baroque, Then and Now<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: 'Times New Roman';"><span style="color: #cc0000; font-size: x-large;"><i>The
Frescoes</i></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic44hIaJSUy9i4TBdO5b5j6HlvuvGavEovfuXKqNt8wNJuFLbJL_plcJ1c9nVMhlvwj-gJwxVK2zy6SzQ6CjhF0oVWt6XRGp2nawdkBiYGigfYx4tVyfifjI7UsB0440eYNr1Ifo3CIPQ/s1600/ottobeuren_crossingclg_web.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic44hIaJSUy9i4TBdO5b5j6HlvuvGavEovfuXKqNt8wNJuFLbJL_plcJ1c9nVMhlvwj-gJwxVK2zy6SzQ6CjhF0oVWt6XRGp2nawdkBiYGigfYx4tVyfifjI7UsB0440eYNr1Ifo3CIPQ/s1600/ottobeuren_crossingclg_web.jpg" height="320" width="179" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ottobeuren, crossing</td></tr>
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<span style="color: #666666; font-size: large;">Since I’m a painter as well as an architect, the frescoes in
particular of South German eighteenth-century churches interested me, and while
there is much that they have in common, particular artists brought unique styles
and interpretations to their subjects. From the sort of purple <i style="mso-bidi-font-style: normal;">sfumato</i> of the ceiling at Marktoberdorf,
to the limpid clarity of the vaults of Ottobeuren, artists drew on diverse
sources for their emulations and aimed at different qualities of form and light
as the century progressed.<o:p></o:p></span><br />
<span style="color: #666666; font-size: large;"><br /></span>
<span style="color: #666666; font-size: large;"><br /></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnZfrX_WqN7z9K1DNPPMHMr0gepl9BStHlYS5KQST5AOA1fnCIT5iBQYPPrW_uW9xJSbcQhV5O_MIPyp6m3vuUrV2Aw7XSVo4yJcajtAZFt3YHgSMGmeKYLwgMhvFMV4PgNQlZXrB8BfY/s1600/mariasteinbach_clg_web.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="color: #666666;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnZfrX_WqN7z9K1DNPPMHMr0gepl9BStHlYS5KQST5AOA1fnCIT5iBQYPPrW_uW9xJSbcQhV5O_MIPyp6m3vuUrV2Aw7XSVo4yJcajtAZFt3YHgSMGmeKYLwgMhvFMV4PgNQlZXrB8BfY/s1600/mariasteinbach_clg_web.jpg" height="320" width="192" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;">Maria Steinbach, nave ceiling</span></td></tr>
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<span style="color: #666666; font-size: large;">Not that this is all calculated and deliberate; different
artists practiced with different hands, and the happy combination at Ottobeuren
was not, in my experience, matched elsewhere. These ceilings of the <a href="http://de.wikipedia.org/wiki/Franz_Anton_Zeiller">Zeillers</a>, seemingly
and plausibly influenced by the crisp chiaroscuro of <a href="http://it.wikipedia.org/wiki/Residenza_di_W%C3%BCrzburg#mediaviewer/File:W%C3%BCrzburg_tiepolo_1.jpg">Tiepolo
at Wurzburg</a>, are to my taste the epitome of what such frescoes should be.
They merit careful looking at in their own right, not merely as colorful
eyewash scattered among the stuccowork.<o:p></o:p></span><br />
<span style="color: #666666; font-size: large;"><br /></span>
<span style="color: #666666; font-size: large;"><br /></span></div>
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<tr><td style="text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizDxOX4UOfPjdHUHICflCbcSOFJva4_akZb5t24CnCSB4oPZN6O3TafyJa-lBTuYuwQCkbTsm_FJrjWUe1W9mlACvrvy8aWfa_NuTaEj2y0Itrf8ghTWhA5x1oqJ6uAIlG9sBCsOSLs9M/s1600/ottobeuren_naveclg_web.jpg" height="640" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ottobeuren, nave</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizDxOX4UOfPjdHUHICflCbcSOFJva4_akZb5t24CnCSB4oPZN6O3TafyJa-lBTuYuwQCkbTsm_FJrjWUe1W9mlACvrvy8aWfa_NuTaEj2y0Itrf8ghTWhA5x1oqJ6uAIlG9sBCsOSLs9M/s1600/ottobeuren_naveclg_web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: #666666;"></span></a></div>
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<span style="color: #666666; font-size: large;">But the surprise of the excursion was the last stop in
Innsbruck, where I went to see the Asam brother’s work in the cathedral of St.
Lorenz. There I discovered that, having suffered damage in WWII bombing, part
of the apse and transept were rebuilt and their paintings repainted—not copied,
mind you, but new works inspired by the old were created. And credit for this
goes to two local heroes, practitioners of an otherwise unknown
twentieth-century baroque: <o:p></o:p></span><br />
<span style="color: #666666; font-size: large;"><br /></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9PaEgUphXoMy2j7hLPk_SwbDKRO1Xqh1twZ7ce96sPcIKjc4bOoS5L5avDv7jZL1CjaxLRs_mwKdxeloXMF6KhadA6GvvZNzYItOHbMqCIX42y4-DQz7RLRIH1bekn9pmp_ZL5HV0-xg/s1600/andre_trinity_web.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9PaEgUphXoMy2j7hLPk_SwbDKRO1Xqh1twZ7ce96sPcIKjc4bOoS5L5avDv7jZL1CjaxLRs_mwKdxeloXMF6KhadA6GvvZNzYItOHbMqCIX42y4-DQz7RLRIH1bekn9pmp_ZL5HV0-xg/s1600/andre_trinity_web.jpg" height="212" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">St. Lorenz, apse</td></tr>
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<span style="color: #666666; font-size: large;">Hans Andre worked in the apse, finishing his painting in
1950 for the third centenary of the translation of the miraculous Lucas Cranach
<i style="mso-bidi-font-style: normal;">Madonna and Child</i> to the church:<o:p></o:p></span></div>
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<span style="color: #666666; font-size: large;"><a href="http://de.wikipedia.org/wiki/Hans_Andre">http://de.wikipedia.org/wiki/Hans_Andre</a><o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizaUaxlsJZ13z3pc9ipBFj-Y2REY1gifHD5yGnuVoZO5n3fCIYegh1PIF9Flsaf8ufABM30l1Hj3CThzjYK8spuIVjSA9N0QgZIxwjd975W63P7PMBQkJn1mChmVTpFyUc6fuPF64j8tU/s1600/koberl_stannealtar_web.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizaUaxlsJZ13z3pc9ipBFj-Y2REY1gifHD5yGnuVoZO5n3fCIYegh1PIF9Flsaf8ufABM30l1Hj3CThzjYK8spuIVjSA9N0QgZIxwjd975W63P7PMBQkJn1mChmVTpFyUc6fuPF64j8tU/s1600/koberl_stannealtar_web.jpg" height="320" width="212" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">St. Lorenz, right transept altar</td></tr>
</tbody></table>
<div style="text-align: justify;">
<span style="color: #666666; font-size: large;">But for me the star was Wolfram Köberl, who finished in 2003
(!) at the age of 76 the right transept altar painting, so Venetian in form and
spirit:<o:p></o:p></span></div>
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<span style="color: #666666; font-size: large;"><a href="http://de.wikipedia.org/wiki/Wolfram_K%C3%B6berl">http://de.wikipedia.org/wiki/Wolfram_K%C3%B6berl</a><o:p></o:p></span></div>
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<div style="text-align: justify;">
<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;"><span style="color: #666666; font-size: large;">So
there’s hope. The glories of the eighteenth century are available to us if we
have the will to Beauty, the desire and capacity to revel in the splendors of
what we’re capable of at our best. It seems we mostly resign ourselves to
Modernist ugliness, or mediocre “traditionalism” at best. But these two
Innsbruckers remind us the fault is not in our stars, but ourselves.</span><o:p></o:p></span></div>
</div>
</div>
Emulatiohttp://www.blogger.com/profile/11773405982717176805noreply@blogger.com0tag:blogger.com,1999:blog-4004767258734318262.post-81698687548221460112014-09-13T04:46:00.000-04:002014-09-14T12:56:05.632-04:00A More Nuanced View of the Enlightenment<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaYGXDCevBuySRq3Jkb-z3GcqxMvT5NquzFKgiVjUPs4Ln91DO8-YtxcgsWmdl9TjFovPJENvrjw9zMO-UMWlM1V-SvCzcgAl8gRiYrtFmqCOGz7Jp9zo8nrc8htps9SdOtGQlRqtaFcs/s1600/ottobeuren_web.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaYGXDCevBuySRq3Jkb-z3GcqxMvT5NquzFKgiVjUPs4Ln91DO8-YtxcgsWmdl9TjFovPJENvrjw9zMO-UMWlM1V-SvCzcgAl8gRiYrtFmqCOGz7Jp9zo8nrc8htps9SdOtGQlRqtaFcs/s1600/ottobeuren_web.jpg" height="225" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i style="font-size: medium; text-align: justify;"><span style="background-color: white; font-family: 'Times New Roman';"><span style="color: #45818e; font-size: x-large;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-right: 1em;"><tbody>
<tr><td class="tr-caption" style="font-size: 13px; text-align: center;"><span style="color: #999999; font-size: small;"><i>Ottobeuren Abbey church, architect J. M. Fischer, stuccoes by </i></span><br />
<div style="text-align: center;">
<span style="color: #999999; font-size: small;"><i>J. M. Feichtmayr, frescoes by J. J. Zeiller</i></span></div>
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<i><span style="background-color: white; font-family: 'Times New Roman';"><span style="color: #45818e; font-size: x-large;">RESILIENT BAROQUE</span></span></i></div>
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<br /></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Since
reading Joseph Rykwert’s <i style="mso-bidi-font-style: normal;"><a href="http://www.amazon.com/The-First-Moderns-Architects-Eighteenth/dp/0262680394/ref=sr_1_1/178-9549977-8605245?ie=UTF8&qid=1410593789&sr=8-1&keywords=joseph+rykwert+first+moderns">The
First Moderns: The Architects of the Eighteenth Century</a></i> (MIT) roughly
three decades ago, I have largely accepted his reading of the eighteenth
century’s trajectory toward the roots of Modernism, dominated by neo-classicists, the <i style="mso-bidi-font-style: normal;"><a href="http://en.wikipedia.org/wiki/Go%C3%BBt_grec">Goût grec</a></i>, early
Romanticism, Encyclopedic rationalism and proto-structuralism. And, naturally,
rejecting Modernism, I was inclined to reject much that went along with the
Enlightenment that seemed to have produced it. Not the Enlightenment of
scientific advance and human rights, but the not-so-enlightened purism that
rejected everything about the culture that had preceded it.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqoUiwZfxdbhHNbDEpc1i9KKpM-KWKirDIkV-MQZnh8iB9mioGzDrZYGLJFBxZGmBAaRBdArxTsAg48nS6Nxg81dLVMoYnjlnYq98XasgDczD5kahp4rM_3d4b0VwS-frjJMqUXF1-8Fk/s1600/mariasteinbach_web.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqoUiwZfxdbhHNbDEpc1i9KKpM-KWKirDIkV-MQZnh8iB9mioGzDrZYGLJFBxZGmBAaRBdArxTsAg48nS6Nxg81dLVMoYnjlnYq98XasgDczD5kahp4rM_3d4b0VwS-frjJMqUXF1-8Fk/s1600/mariasteinbach_web.jpg" height="225" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i style="font-size: medium; text-align: justify;"><span style="background-color: white; font-family: 'Times New Roman';"><span style="color: #45818e; font-size: x-large;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-right: 1em;"><tbody>
<tr><td class="tr-caption" style="font-size: 13px; text-align: center;"><span style="color: #999999; font-size: small;"><i>Maria Steinbach pilgrimage church, architect J. G. Fischer, stuccoes by <br />J. G. Übelherr, frescoes by F. G. Hermann </i></span></td></tr>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Of
course, that’s a diagram of history, not its fullness. Before my Germanic
Late-Baroque tour, I was already reading a number of recent histories that
rendered more complex that pivotal century. Nigel Aston’s<i style="mso-bidi-font-style: normal;"> <a href="http://www.amazon.com/Religion-Eighteenth-Century-Europe-Nigel-Aston/dp/1861893779/ref=sr_1_1/184-5268520-8205039?ie=UTF8&qid=1410262228&sr=8-1&keywords=art+and+religion+in+the+eighteenth+century">Art
and Religion in Eighteenth-Century Europe</a></i> (Reaktion) introduces the
many ways in which religion didn’t disappear in the eighteenth century; rather,
between Protestant and Catholic cultures there was an intricate rebalancing of
perceptions and priorities, the former becoming increasingly more accustomed
to, and desirous of, Catholic religious painting, and the latter applying
increasingly rigorous standards to the purging of the fabulous (unhistorical)
from its iconography. And, as Aston shows, there was simply an enormous
quantity of religious art produced in the eighteenth century, most of it
remarkably beautiful, that has been too easily ignored.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">The
architectural historian Heather Hyde Minor, in<i style="mso-bidi-font-style: normal;"> <a href="http://www.amazon.com/Architecture-Enlightenment-Buildings-Landscapes-Societies/dp/0271035641/ref=sr_1_1/184-5268520-8205039?ie=UTF8&qid=1410262180&sr=8-1&keywords=heather+hyde+minor+rome+enlightenment">The
Culture of Architecture in Enlightenment Rome</a></i> (Penn State), tracks a
number of ways Enlightenment ideas shaped the building of Rome by church
patrons in the first half of the eighteenth century. References to church
history and scholarly debates about it, connoisseurship of the antique, an
interest in lightness as intellectual metaphor, informed the building of
churches, museums, and palaces in the papal city.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZlww15P4riG_GbUWJXtQlVKKvalZWGTwOjLCTlw9KZ_Td-znrNzEHX1CG2teLr7sMYppsew7dapkXaFCob4giCoycrYXyIyjgUBbS02w3JtMuRU5bkwI1DX13q3JqckqyX6YWfqoK3vo/s1600/marktoberdorf_vertpanor_web.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZlww15P4riG_GbUWJXtQlVKKvalZWGTwOjLCTlw9KZ_Td-znrNzEHX1CG2teLr7sMYppsew7dapkXaFCob4giCoycrYXyIyjgUBbS02w3JtMuRU5bkwI1DX13q3JqckqyX6YWfqoK3vo/s1600/marktoberdorf_vertpanor_web.jpg" height="318" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i style="font-size: medium; text-align: justify;"><span style="background-color: white; font-family: 'Times New Roman';"><span style="color: #45818e; font-size: x-large;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-right: 1em;"><tbody>
<tr><td class="tr-caption" style="font-size: 13px; text-align: center;"><span style="color: #999999; font-size: small;"><i>St. Martin, Marktoberdorf , architect J. G. Fischer, stuccoes by<br />A. Bader, frescoes by F. G. Hermann</i></span></td></tr>
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<span style="font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">More
apropos the buildings that have filled my senses over the last week,
Ottobeuren, Maria Steinbach, and St. Martin in Marktoberdorf, Thomas DaCosta
Kaufmann’s<i style="mso-bidi-font-style: normal;"> <a href="http://www.amazon.com/Painterly-Enlightenment-Maulbertsch-1724-1796-Lectures/dp/0807829560/ref=sr_1_fkmr0_1/184-5268520-8205039?ie=UTF8&qid=1410262337&sr=8-1-fkmr0&keywords=painterly+enlightenment+dakosta">Painterly
Enlightenment: The Art of Franz Anton Maulbertsch 1724-1796</a></i> (North
Carolina) describes the career of a painter of spectacular ecclesiastical
frescoes who was gainfully employed, with only modest changes to his style, by
enlightened patrons almost right up to the end of the century. The church at
Ottobeuren received its final interior touches only just after the signing of
the Declaration of Independence. But when one considers the composers working
at that same time, like <a href="http://en.wikipedia.org/wiki/Johann_Joachim_Quantz">J. J. Quantz</a>, <a href="http://en.wikipedia.org/wiki/Carl_Heinrich_Graun">C. H. Graun</a>, or the
slightly earlier <a href="http://en.wikipedia.org/wiki/Johann_Joseph_Fux">J. J.
Fux</a>, the grace and elegance, formal richness and simultaneous clarity of
that <a href="http://en.wikipedia.org/wiki/Galant_music">gallant music</a> reverberates
through these spaces, so clear in formal structure and so rich in ornament.<o:p></o:p></span></div>
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