Creating the "Divine" Artist: From Dante to Michelangelo
Turning a skeptical eye on the idea that Renaissance artists were widely believed to be as utterly admirable as Vasari claimed, this book re-opens the question of why artists were praised and by whom, and specifically why the language of divinity was invoked, a practice the ancients did not license. The epithet ''divino'' is examined in the context of claims to liberal arts status and to analogy with poets, musicians, and other ''uomini famossi.'' The reputations of Michelangelo and Brunelleschi are compared not only with each other but with those of Dante and Ariosto, of Aretino and of the ubiquitous beloved of the sonnet tradition. Nineteenth-century reformulations of the idea of Renaissance artistic divinity are treated in the epilogue, and twentieth-century treatments of the idea of artistic "ingegno" in an appendix.
admired Alberti all’antica altri ancient antiquity Apelles architecture Aretino Ariosto Baxandall beauty beloved Brunelleschi Bruni called divine Castiglione Cicero claim cose Cosimo Cosimo Bartoli culture Dante Dante’s disegno Dolce Donatello drawing Duke Dürer early engraving etching fame female fifteenth figure Florence Florentine Francesco Francesco Sansovino Furioso gelo genius Giotto Giovanni grazia human humanists idea ideal imitation implied ingegno ingenium inscription inspiration invention Italian Renaissance Landino Leonardo less letter liberal artist liberal arts Lorenzo Medici Michelagnolo Michelan Michelangelo Michelangelo Buonarotti modern molto Museum musicians nature ogni one’s Orlando Orlando Furioso painter painting Panofsky Paolo Giovio Parmigianino patron pazzia Petrarch Pietro Pietro Aretino pittore pittura Plato Pliny Pliny’s poem poet poetical poetry portrait praise quale Quintilian Raphael reputation Rome rules Scala/Art Resource sculpture Self-Portrait Sistine Sistine Ceiling sixteenth century sprezzatura status style talent theory Titian tomb uomini Vasari Venice vernacular visual arts Vita writing
Page 13 - I reflect not without vanity, that these Discourses bear testimony of my admiration * Che Raffaelle non ebbe quest" arte da nutura, ma per lunyo studio. of that truly divine man, and I should desire that the last words which I should pronounce in this Academy, and from this place, might be the name of — MICHAEL ANGELO*.
Page 13 - It must be remembered, that this great style itself is artificial in the highest degree : it presupposes in the spectator, a cultivated and prepared artificial state of mind. It is an absurdity therefore, to suppose that we are born with this taste, though we are with the seeds of it, which, by the heat and kindly influence of this genius, may be ripened in us.