Wednesday, March 19, 2008

I'm inserting a beautiful picture of the facade of Alberti's church in Florence, San Maria Novella, as an example of his neo-classicism. I've also got a picture of the interior of his S. Andrea in Mantua, with the pattern of rosettes in the ceiling. We're going to be looking at his artistic theory today, which begins with an excerpt from On Painting. Don't be put off by the extremely technical discussion of linear perspective, although it's important to get a sense of how he conceives of the painter's task (which is why I'm including here a link to a website that gives you some examples of how Renaissance painters rendered three-dimensional objects in a two-dimensional medium).

The part of this excerpt that will be a good basis for discussion begins on page 226.

Question 1 concerns the instructions Alberti gives for the development of a painter. What do you see as being in common with Quintilian's instructions for the ideal orator? What status does Alberti give to painting as a form of human endeavor?

Question 2 has to do with the role of nature in Alberti's approach to painting. What elements of a work of art are supplied by nature? What must the artist seek to add to it to create a work of beauty?

Question 3 has to do with the architect. What is the difference between painting and architecture, in Alberti's estimation?

Finally, for Question 4 I'd like you to consider the moral qualities of both painters and architects. Alberti uses the language of dignity, fame, disgrace, and other related terms to flesh out his description of the artist and his projects. What do these things mean in the context of artistic practice? What sense do these values make to you?

Laurel Carrington carringt@stolaf.edu
Most recent update: January 23, 2008

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