From the "Libro di Pittura" to the "Trattato". The Circulation, Transmission and Reception of Leonardo's Ideas and Writings in the Sixteenth and Seventeenth Centuries | International Study Days | Rome, Accademia Nazionale di San Luca, Palazzo Carpegna, Salone d'onore | 24-25/10/2019 (original) (raw)
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2010
colour plates, black/white images. The book is an amplified collection of essays partly presented in a conference held at the Warburg Institute on September 13-14, 2001, dedicated to the fortuna of Leonardo da Vinci's Trattato della Pittura, or Treatise on Painting. After many years of planning and with the addition of six new contributors, beyond the participants of the conference, the result is an authentic turning point in the studies regarding Leonardo's intellectual legacy, for it constitutes the first publication ever attempted on the historical reception of the Treatise, considered in an extraordinarily wide horizon of chronological as well as geographical boundaries. The book is edited and introduced by Claire Farago, one of the leading specialists on Leonardo. From a critical standpoint, the book could be justly considered as a further development and an important continuation of at least two other major contributions by Farago to this specific field of research: the collection of essays entitled Biography and Early Criticism of Leonardo da Vinci and Leonardo's Writings and Theory of Art, both published in 1999. The present book, however, focuses primarily on the reception of the abridged version of the Treatise, reconstructing, in the most engaging and analytical way, the history of that remarkably heterogeneous net of readers, editors, commentators and interpreters of Leonardo's notes, mostly (if not altogether) neglected in previous studies. Extensively based upon the hermeneutic premises of the Rezeptionstheorie or Rezeptionsästhetik-without mentioning, however, the name of any of its most important exponents, such as Wolfgang Iser, Hans Robert Jauss, Karlheinz Stierle or Harald Weinrich-the book presents itself as a work inevitably in progress, as an open field of investigation, in which the several contributors provide individual case studies, mostly examined from a micro-historical perspective. This level of investigation is, then, directly connected to a broader system of inquiry, that is to say, the complex and not yet fully explored paths of dissemination of Leonardo's ideas in Europe, from the sixteenth to the nineteenth century. Given that the driving force of the book lies in the pre-existing research interests of each contributor, the topic of historical reception of Leonardo's Treatise has been investigated within different cultural settings and in a large temporal frame, from the earliest debates in Italy-in the ambit of sixteenth-century Florentine academies or seventeenth-century Roman cultural circles-to the migration of Leonardo's theories in France, Spain, Holland, Poland and Greece for over four centuries, until the nineteenth century. Despite the plurality of interests, the diversity of interpretive methods and analytical tools adopted by each scholar, not to mention the impressive variety of problems covered by the different contributions, the reader gets a sense of strong cohesion, for all essays converge towards a common critical point, as Claire Farago underlines in the introduction: 'Ultimately, this study traces the transmission of ideas at a
2019
Divided in two volumes also available in a manageable e-book format, this monumental editorial enterprise – exquisitely illustrated with high quality images – is the result of many years of research and the extensive collaboration among well-known scholars who have already explored, in previous individual publications, the intricate net of Leonardo’s writings and their complex, fascinating channels of circulation, transformation and reinterpretation since the sixteenth century. Published within the series Brill’s Studies on Art, Art History, and Intellectual History, this edition presents a remarkably well-conducted scholarly analysis of Leonardo da Vinci’s Trattato della pittura,1 examined in its polyhedral aspects, as well as a philologically accurate translation of the original text into English, prepared by Claire Farago and Janis Bell.2 Accompanied by an almost labyrinthine, yet clearly arranged, critical apparatus to the text, the present edition is further enriched by capacio...
The abridged text of the Libro di pittura, c. 1570, Appendix D
The Fabrication of Leonardo da Vinci's Tratttato della Pittura, 2018
(All versions derive from one lost original manuscript) Key: McM = system of numbering chapters established by Leonardo da Vinci, Treatise on Painting (Codex Urbinas Latinus 1270), ed. and trans. A. P. McMahon, intro. Ludwig Heydenreich, 2 vols. Princeton: Princeton University Press, 1956. Eliminated 1. Book 1: paragone Books 5-8: De Ombre e' Lume; De li alberi et verdure; Deli nuvvoli; Del orizonte (except one passage) 2. Most, though not all, discussions of ingegno: 32r-33r (McM 71 ff) on ingegno of painter judgment of painter 62r (McM 260) stains on walls painter judging his own work: eliminated negative comments 131v-132r (part of Chapter 244; McM 440) 3. Redundancies: 33v (McM 89) 110r (McM 305, 40, 388) 4. Negative comments: 62r (McM 260) 153r (McM 553) 117v-118r (McM 372) 35v (McM 76) 37r-v (McM 73, last sentence) 45r (McM 87 eliminated one line about ugly women)