Raffael und Rubens im Wettstreit?: zum vergleichenden Sehen als künstlerischer Strategie am Beispiel von Kopien nach Raffaels "Transfiguration" und Rubens' "Himmelfahrt Mariä" aus der Hand Pier Lorenzo Spoletis (1682-1729) in Finale Ligure
Comparisons serve individuals to situate themselves in society, but they are as well a complex intellectual and learnable heuristic for gaining knowledge. With regard to works of art, the visual comparison can be traced back to antiquity, initially as the staging of an artistic competition in the se...
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| Format: | Elektronisch Artikel |
| Sprache: | English |
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2023-12-18
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| Zusammenfassung: | Comparisons serve individuals to situate themselves in society, but they are as well a complex intellectual and learnable heuristic for gaining knowledge. With regard to works of art, the visual comparison can be traced back to antiquity, initially as the staging of an artistic competition in the sense of the agón or paragone (inherent to which is the Italian verb "paragonare", meaning "to compare"). A particularly impressive example for comparative viewing can be found in the sanctuary of the church of San Biagio in Finale Ligure. There we fnd copies after Raphael’s Transfguration and Rubens’ Assumption of the Virgin Mary from the hand of the now forgotten painter Pier Lorenzo Spoleti (1682–1729), whose own pictorial inventions were – according to his biographer Carlo Giuseppe Ratti – "not very elegant" in terms of composition. He was, however, all the more outstanding as a copyist. The detailed analysis of the paintings and the preserved written sources reveals that Spoleti recognised and took advantage of the opportunity ofered by the visà-vis position of the paintings for a comparative juxtaposition. Therefore, he deliberately modifed his copies, which, according to the hypothesis of this article, allowed the initially not very obvious similarities between the two originals to be revealed, and this enabled Spoleti to arrange or stage a paragone between Raphael and Rubens, between the High Renaissance and the Baroque |
| Beschreibung: | Online-Ressource (20 Seiten) 9 Illustrationen |
| ISSN: | 1618-8101 |
| DOI: | 10.48633/ksttx.2023.3.101423 |
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| 520 | 3 | |a Comparisons serve individuals to situate themselves in society, but they are as well a complex intellectual and learnable heuristic for gaining knowledge. With regard to works of art, the visual comparison can be traced back to antiquity, initially as the staging of an artistic competition in the sense of the agón or paragone (inherent to which is the Italian verb "paragonare", meaning "to compare"). A particularly impressive example for comparative viewing can be found in the sanctuary of the church of San Biagio in Finale Ligure. There we fnd copies after Raphael’s Transfguration and Rubens’ Assumption of the Virgin Mary from the hand of the now forgotten painter Pier Lorenzo Spoleti (1682–1729), whose own pictorial inventions were – according to his biographer Carlo Giuseppe Ratti – "not very elegant" in terms of composition. He was, however, all the more outstanding as a copyist. The detailed analysis of the paintings and the preserved written sources reveals that Spoleti recognised and took advantage of the opportunity ofered by the visà-vis position of the paintings for a comparative juxtaposition. Therefore, he deliberately modifed his copies, which, according to the hypothesis of this article, allowed the initially not very obvious similarities between the two originals to be revealed, and this enabled Spoleti to arrange or stage a paragone between Raphael and Rubens, between the High Renaissance and the Baroque | |
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| spelling | Franconi, Isabell Verfasser (DE-588)1036885208 aut Raffael und Rubens im Wettstreit? zum vergleichenden Sehen als künstlerischer Strategie am Beispiel von Kopien nach Raffaels "Transfiguration" und Rubens' "Himmelfahrt Mariä" aus der Hand Pier Lorenzo Spoletis (1682-1729) in Finale Ligure Isabell Franconi 2023-12-18 Online-Ressource (20 Seiten) 9 Illustrationen txt rdacontent c rdamedia cr rdacarrier Comparisons serve individuals to situate themselves in society, but they are as well a complex intellectual and learnable heuristic for gaining knowledge. With regard to works of art, the visual comparison can be traced back to antiquity, initially as the staging of an artistic competition in the sense of the agón or paragone (inherent to which is the Italian verb "paragonare", meaning "to compare"). A particularly impressive example for comparative viewing can be found in the sanctuary of the church of San Biagio in Finale Ligure. There we fnd copies after Raphael’s Transfguration and Rubens’ Assumption of the Virgin Mary from the hand of the now forgotten painter Pier Lorenzo Spoleti (1682–1729), whose own pictorial inventions were – according to his biographer Carlo Giuseppe Ratti – "not very elegant" in terms of composition. He was, however, all the more outstanding as a copyist. The detailed analysis of the paintings and the preserved written sources reveals that Spoleti recognised and took advantage of the opportunity ofered by the visà-vis position of the paintings for a comparative juxtaposition. Therefore, he deliberately modifed his copies, which, according to the hypothesis of this article, allowed the initially not very obvious similarities between the two originals to be revealed, and this enabled Spoleti to arrange or stage a paragone between Raphael and Rubens, between the High Renaissance and the Baroque Spoleti, Pierlorenzo 1680-1726 (DE-588)1325269956 gnd rswk-swf Rubens, Peter Paul 1577-1640 Modello voor de Hemelvaart van Maria (DE-588)1325272590 gnd rswk-swf Raffael 1483-1520 Verklärung Christi (DE-588)4407486-4 gnd rswk-swf Rezeption (DE-588)4049716-1 gnd rswk-swf Raffael 1483-1520 Verklärung Christi (DE-588)4407486-4 u Rubens, Peter Paul 1577-1640 Modello voor de Hemelvaart van Maria (DE-588)1325272590 u Rezeption (DE-588)4049716-1 s Spoleti, Pierlorenzo 1680-1726 (DE-588)1325269956 p DE-604 number:3 year:2023 Kunsttexte.de [S.l.], 2023 Ausgabe 3 (2023): Renaissance (DE-604)BV014034525 1618-8101 (DE-600)2063498-5 application/pdf 12,4 MB https://journals.ub.uni-heidelberg.de/index.php/kunsttexte/article/view/101423 Resolving-System kostenfrei Volltext https://doi.org/10.48633/ksttx.2023.3.101423 Resolving-System kostenfrei Volltext |
| spellingShingle | Franconi, Isabell Raffael und Rubens im Wettstreit? zum vergleichenden Sehen als künstlerischer Strategie am Beispiel von Kopien nach Raffaels "Transfiguration" und Rubens' "Himmelfahrt Mariä" aus der Hand Pier Lorenzo Spoletis (1682-1729) in Finale Ligure Spoleti, Pierlorenzo 1680-1726 (DE-588)1325269956 gnd Rubens, Peter Paul 1577-1640 Modello voor de Hemelvaart van Maria (DE-588)1325272590 gnd Raffael 1483-1520 Verklärung Christi (DE-588)4407486-4 gnd Rezeption (DE-588)4049716-1 gnd |
| subject_GND | (DE-588)1325269956 (DE-588)1325272590 (DE-588)4407486-4 (DE-588)4049716-1 |
| title | Raffael und Rubens im Wettstreit? zum vergleichenden Sehen als künstlerischer Strategie am Beispiel von Kopien nach Raffaels "Transfiguration" und Rubens' "Himmelfahrt Mariä" aus der Hand Pier Lorenzo Spoletis (1682-1729) in Finale Ligure |
| title_auth | Raffael und Rubens im Wettstreit? zum vergleichenden Sehen als künstlerischer Strategie am Beispiel von Kopien nach Raffaels "Transfiguration" und Rubens' "Himmelfahrt Mariä" aus der Hand Pier Lorenzo Spoletis (1682-1729) in Finale Ligure |
| title_exact_search | Raffael und Rubens im Wettstreit? zum vergleichenden Sehen als künstlerischer Strategie am Beispiel von Kopien nach Raffaels "Transfiguration" und Rubens' "Himmelfahrt Mariä" aus der Hand Pier Lorenzo Spoletis (1682-1729) in Finale Ligure |
| title_exact_search_txtP | Raffael und Rubens im Wettstreit? zum vergleichenden Sehen als künstlerischer Strategie am Beispiel von Kopien nach Raffaels "Transfiguration" und Rubens' "Himmelfahrt Mariä" aus der Hand Pier Lorenzo Spoletis (1682-1729) in Finale Ligure |
| title_full | Raffael und Rubens im Wettstreit? zum vergleichenden Sehen als künstlerischer Strategie am Beispiel von Kopien nach Raffaels "Transfiguration" und Rubens' "Himmelfahrt Mariä" aus der Hand Pier Lorenzo Spoletis (1682-1729) in Finale Ligure Isabell Franconi |
| title_fullStr | Raffael und Rubens im Wettstreit? zum vergleichenden Sehen als künstlerischer Strategie am Beispiel von Kopien nach Raffaels "Transfiguration" und Rubens' "Himmelfahrt Mariä" aus der Hand Pier Lorenzo Spoletis (1682-1729) in Finale Ligure Isabell Franconi |
| title_full_unstemmed | Raffael und Rubens im Wettstreit? zum vergleichenden Sehen als künstlerischer Strategie am Beispiel von Kopien nach Raffaels "Transfiguration" und Rubens' "Himmelfahrt Mariä" aus der Hand Pier Lorenzo Spoletis (1682-1729) in Finale Ligure Isabell Franconi |
| title_short | Raffael und Rubens im Wettstreit? |
| title_sort | raffael und rubens im wettstreit zum vergleichenden sehen als kunstlerischer strategie am beispiel von kopien nach raffaels transfiguration und rubens himmelfahrt maria aus der hand pier lorenzo spoletis 1682 1729 in finale ligure |
| title_sub | zum vergleichenden Sehen als künstlerischer Strategie am Beispiel von Kopien nach Raffaels "Transfiguration" und Rubens' "Himmelfahrt Mariä" aus der Hand Pier Lorenzo Spoletis (1682-1729) in Finale Ligure |
| topic | Spoleti, Pierlorenzo 1680-1726 (DE-588)1325269956 gnd Rubens, Peter Paul 1577-1640 Modello voor de Hemelvaart van Maria (DE-588)1325272590 gnd Raffael 1483-1520 Verklärung Christi (DE-588)4407486-4 gnd Rezeption (DE-588)4049716-1 gnd |
| topic_facet | Spoleti, Pierlorenzo 1680-1726 Rubens, Peter Paul 1577-1640 Modello voor de Hemelvaart van Maria Raffael 1483-1520 Verklärung Christi Rezeption |
| url | https://journals.ub.uni-heidelberg.de/index.php/kunsttexte/article/view/101423 https://doi.org/10.48633/ksttx.2023.3.101423 |
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