Italian Drawing of the Renaissance and Baroque : a complete catalogue of Italian drawings from the 16th-18th centuries in the Moravian Gallery in Brno

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00094871%3A_____%2F15%3A%230001254" target="_blank" >RIV/00094871:_____/15:#0001254 - isvavai.cz</a>

Výsledek na webu

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DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Italian Drawing of the Renaissance and Baroque : a complete catalogue of Italian drawings from the 16th-18th centuries in the Moravian Gallery in Brno

Popis výsledku v původním jazyce

Drawing provides convincing evidence that there is no single style in the history of art but a multitude of styles (manners) that exist in parallel. This style variety is one of the main subjects of specialist research into old drawing. Italian baroque drawing involves, in particular, sketches for artworks such as easel paintings and murals. In the course of the preparation of a work of art, these sketches were further differentiated. As a result, there are several kinds of sketches, from swiftly drafted ideas (primi pensieri) through elaborate studies of the composition and the individual figures to final drawings (templates). In contrast to paintings on canvas, drawings have many layers, and to understand them means studying the subject for a long period of time. As follows from their function, drawings are actually unfinished works of art. This “non-finito” character is ambiguous, unexplainable, unclear and mystifying, as it can be interpreted in many contradictory ways. Incompleteness might indicate both hope and resignation; incompleteness equals abandoning a piece, an interruption of an idea. On the other hand, what is complete is final, as is death. Numerous works of art feature the subject of death, and drawing appears to be trying to stop it, or at least to slow it down. There is also the frequently voiced opinion that drawing is only for connoisseurs, for people who are specially educated and spiritually advanced. I don’t think this is completely true. Drawing is accessible to everybody who is perceptive and sensitive, to all those able, on their quest for knowledge, to submerge underneath the surface of a work of art and ask about its beginning and end.

Název v anglickém jazyce

Italian Drawing of the Renaissance and Baroque : a complete catalogue of Italian drawings from the 16th-18th centuries in the Moravian Gallery in Brno

Popis výsledku anglicky

Drawing provides convincing evidence that there is no single style in the history of art but a multitude of styles (manners) that exist in parallel. This style variety is one of the main subjects of specialist research into old drawing. Italian baroque drawing involves, in particular, sketches for artworks such as easel paintings and murals. In the course of the preparation of a work of art, these sketches were further differentiated. As a result, there are several kinds of sketches, from swiftly drafted ideas (primi pensieri) through elaborate studies of the composition and the individual figures to final drawings (templates). In contrast to paintings on canvas, drawings have many layers, and to understand them means studying the subject for a long period of time. As follows from their function, drawings are actually unfinished works of art. This “non-finito” character is ambiguous, unexplainable, unclear and mystifying, as it can be interpreted in many contradictory ways. Incompleteness might indicate both hope and resignation; incompleteness equals abandoning a piece, an interruption of an idea. On the other hand, what is complete is final, as is death. Numerous works of art feature the subject of death, and drawing appears to be trying to stop it, or at least to slow it down. There is also the frequently voiced opinion that drawing is only for connoisseurs, for people who are specially educated and spiritually advanced. I don’t think this is completely true. Drawing is accessible to everybody who is perceptive and sensitive, to all those able, on their quest for knowledge, to submerge underneath the surface of a work of art and ask about its beginning and end.

Druh

B - Odborná kniha

CEP obor

AL - Umění, architektura, kulturní dědictví

OECD FORD obor

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Projekt

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Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2015

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

ISBN

978-80-7027-292-3

Počet stran knihy

167

Název nakladatele

Moravian Gallery in Brno

Místo vydání

Brno

Kód UT WoS knihy

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