Matteo Burioni | Ludwig-Maximilians-Universität München (original) (raw)

Papers by Matteo Burioni

This short catalogue entry to Ivan Pouzyna's Book "La Chine, l'Italie et les débuts de la Renaiss... more This short catalogue entry to Ivan Pouzyna's Book "La Chine, l'Italie et les débuts de la Renaissance" published in Paris 1935 uncovers the work of an émigré historian and his geohistorical interpretation of the Italian Renaissance within the period 1900-1940.

The paper gives a new reading of Vasari's 'Origin of Painting' in his house in Arezzo. As a footn... more The paper gives a new reading of Vasari's 'Origin of Painting' in his house in Arezzo. As a footnote to Victor I. Stoichita's interpretation of the artist drawing his own shadow I add Seneca and Dante as to main sources besides Plinius and Alberti. The decoration of the house in Arezzo (Sala del trionfo della virtù, 1548) is linked with the conception of the first edition of Vasaris Lifes.

The paper reviews the evidence for the reception of antique pottery (greek vases, terra sigillata... more The paper reviews the evidence for the reception of antique pottery (greek vases, terra sigillata, antique painting on pottery) in the Renaissance and discusses three passages from Vasaris Lives.

The small essay reviews the recent books by David Cast, Antonella Fenech-Kroke, Sharon Gregory a... more The small essay reviews the recent books by David Cast, Antonella Fenech-Kroke, Sharon Gregory and Marco Ruffini on Vasari and adds a few thoughts on further research venues and considerations on the output of the 'anno vasariano'.

Ouvrage édité avec le concours du Centre national de la recherche scientifique MÉTHODE Matteo Bur... more Ouvrage édité avec le concours du Centre national de la recherche scientifique MÉTHODE Matteo Burioni Fondements de la communauté. Aspects performatifs des façades de palais à la Renaissance Si l'on voulait se faire une juste idée du caractère « figuratif » ou « figural » (Bildlichkeit 1 ) de l'architecture, il faudrait éviter de s'intéresser trop rapidement aux façades. En effet, ces dernières, parce qu'elles ressemblent aux surfaces planes et circonscrites de la peinture, incitent à donner une interprétation hâtive de l'architecture comme représentation, comme image visuelle. Or cette approche ne correspond guère à notre expérience quotidienne de l'architecture, qui ne nous touche pas uniquement par la perception visuelle. C'est par tout notre corps, par nos déplacements, que nous appréhendons l'architecture. Cela étant, les façades posent un problème bien plus complexe qu'il n'y paraît de prime abord. Le terme « façade » lui-même renvoie à un autre contexte, qu'évoque le mot italien « faccia » (le visage, la face) : l'architecture s'impose à nous dans un face à face, elle s'adresse à nous et nous engage à réagir. Il nous est difficile de nous en détacher et de la percevoir à distance parce que nous nous trouvons toujours déjà dans un espace façonné par elle et qui nous « entretient » d'une manière singulière. Le caractère « figuratif » propre à l'architecture n'est pas donné d'emblée. Il se constitue par l'observation et par l'usage, sa qualité spécifique se manifestant au cours d'un processus dynamique. Dans cet article, je vais m'intéresser à trois aspects de ce caractère figuratif de l'architecture qui prennent forme au cours du processus perceptif : d'abord au portail en tant que seuil qui se manifeste comme image, ensuite au banc, lieu où l'architecture a besoin du corps de l'observateur pour produire du sens, enfin à la voix réverbérée par la corniche et qui crée un espace partagé de la communauté.

This paper focuses on portraits and self-portraits of architects 1200-1800. It deals with the met... more This paper focuses on portraits and self-portraits of architects 1200-1800. It deals with the metonymical relation between the body of the architect and his built work, with the fabrication of portraits of Vitruvius, with the architect's portrait as an institutional or theoretical statement and with architects as cultural or national heroes. Filippo Brunelleschi's likeness in Santa Maria Novella is contextualized within earlier or contemporary examples from North of the Alps, Timurid Iran and India. The self-fashioning of the architect as cornerstone of the building and as christo-phorus in Fifteenth-Century Germany is discussed as a prologue to Dürer's famous Self-Portrait in Munich.

This paper deals with the representation of monumental buildings in Johann Bernhard Fischer von E... more This paper deals with the representation of monumental buildings in Johann Bernhard Fischer von Erlachs “Entwurff Einer Historischen Architectur" in the context of the Gottfried Wilhelm Leibniz' philosophical concept of ‘Perspectivity’. From different cultural and religious angles different aspects of the heavenly city are disclosed. Fischer’s sources, the Leibnizian title of his "Essai" and his fantastic creations are discussed.

This paper offers a broad-ranging overview of the concepts of ground and field of the image in Ea... more This paper offers a broad-ranging overview of the concepts of ground and field of the image in Early Modern Art. It discusses the art historical concepts of "grund" and "campo" in art historical literature 1400-1500. At the same time, it shows how these concepts were critically used by artists such as Konrad Witz, Albrecht Dürer, Antonio del Pollaiuolo and Paolo Uccello. In the second part it offers a new reading of Paolo Uccello's battle of San Romano. The battle paintings are interpreted as a festive rehearsal of the battle such as they were offered as civic spectacle in Venice and Florence. To underpin this reading a letter from Petrarch ‘Seniles’ is proposed as a possible source of Uccello's paintings.

This paper gives a brief introductory overview of the importance of the "Novella del Grasso" as a... more This paper gives a brief introductory overview of the importance of the "Novella del Grasso" as a theoretical text in the Fifteenth-Century. It discusses the manuscripts, the sources and the idea of "name change" with reference to the writings of Valentin Groebner, Friedrich Teja Bach and Christiane Klapisch Zuber.

This article opens up new horizons for the discussion of the relationship between Raphael and Per... more This article opens up new horizons for the discussion of the relationship between Raphael and Perugino. After a short summary of the status of research and the documentary evidence for contrasting interpretation of their relationship, the highly self-conscious relation of Raphael to Perugino is discussed in terms of literary ‘aemulatio’. The critique of Leonardo's dark paintings and the hitherto unacknowledged sophistication of Perugino's signatures reveal the lasting impact of Perugino on Raphael. Perugino's translation into Italian of the ‘Netherlandish manner’ can be compared to his stance vis à vis Leonardo. Raphael’s Saint George in the National Gallery in Washington is discussed in the context of the study and admiration for Petrarch. It is suggested that the knowledge of a representation of Saint George by Simone Martini in the porch of Avignon Cathedral might be the actual context of Raphael’s panel.

In the context of a recent interest in the interview as an artistic, literary and scholarly genre... more In the context of a recent interest in the interview as an artistic, literary and scholarly genre this article looks at three episodes of 'interviews' around 1550: Vasari's imagined interview with Jacone in the Vite, the epistolary exchange between Aretino and Michelangelo as well as how Michelangelo’s utterings shaped the second edition of the Lives.

This paper offers a discussion of "authorship", terminology, materiality and literary strategies ... more This paper offers a discussion of "authorship", terminology, materiality and literary strategies of the Hypnerotomachia Poliphili.

This is a brief text written for Gottfried Boehm for his Seventeenth birthday.

This paper offers a new reading of the palace facade of Palazzo Rucellai circa 1450 designed by L... more This paper offers a new reading of the palace facade of Palazzo Rucellai circa 1450 designed by Leon Battista Alberti. The orders of the palace facade rest on plinth that is only hinted at as flat rectangle in the spalliera between ‘opus recitulatum’ ornaments. Adducing evidence from Alberti's writing I propose that the facade has to be completed so to speak by a body seating on the street side benches. Aspects of visual, acoustic and bodily performativity of palace facades are discussed.

This paper adduces archival, documentary and art theoretical evidence for the interpretation of a... more This paper adduces archival, documentary and art theoretical evidence for the interpretation of a small detail. The change of place of the Medici coat of arm under the statue of Cosimo Ist at the Uffizi in Florence (1560-1580).

This paper offers a reading of the concept of ‘campo’ in Early Modern Art Theory and in the paint... more This paper offers a reading of the concept of ‘campo’ in Early Modern Art Theory and in the painting by Antonio del Pollaiuolo. The meanings of ‘campo’ as ground, background and as battle field are critically discussed.

This paper discusses Giorgio Vasari's concept of the Renaissance (rinascità) in relation to writi... more This paper discusses Giorgio Vasari's concept of the Renaissance (rinascità) in relation to writings by Giovanni Battista Gelli, Giambullari, Francisco de Olanda, Dust Muhammad comparing their approach to art as a universal principle (disegno) and art as historically specific (maniera).

This is a brief text written for Gottfried Boehm for his Seventeenth birthday.