Baxandall's paintings and experiences in Italy in the 15th century: Introduction to the social history of pictorial style was first published in 1972. Although relatively short, it is published in multiple languages, recently published in Chinese, and since its publication, the second edition has been described as intelligent, persuasive, interesting and clear. Concisely written and discovered, ' propose new important materials '. It may have been published as a book with three chapters. In fact, it is a combination of three books.
Baxandall brings together many of the previous art history methodologies and moves forward in terms of painting and experience. With the rise of art history, subject art is seen as a manifestation of the unique manifestations of specific societies and civilizations. One of the pioneers was Johann Joachim Winckelmann in his history of ancient art [1764]. Baxandall is certainly not the first person to think about how the audience views a painting. When Haskell published his patrons and painters in 1962, he was not the first to discuss sponsorship. Lacan created the concept of "gaze." And Gombrich's idea is that ' holder's share' before Baxandall published paintings and experiences. Baxandall does describe the second chapter of painting and experience as Gombrichian'. Buck Sandel has devoted time to anthropologists and their exploration of culture, especially the culture of Helskowitz. And his views on cognitive style. Baxandall's approach focuses on how the style of painting is influenced by the customers who commission and view the painting. The patron's point of view is culturally constructed. For Baxandall, a 15th-century painting is the existence of social relations. This sentence is the opening sentence of the first chapter of painting and experience; ' terms of trade '.
Baxandall's first chapter on painting and experience in "Trade Conditions." Attempts to explain the changes in the style of painting seen in the fifteenth century were determined in the content of the contract and the letter between the patron and the painter. In addition, the development of painting style is the result of the symbiotic relationship between the artist and the patron. However, this relationship is bound by institutions and conventions - business, religion, sensibility, society in the broadest sense... [that] affects the form they co-manufacture. Baxandall claims that his approach to guardians and painters is by no means Francis Haskell's 1963 groundbreaking work "Patrons and Painters" and DS Chambers'Italian Renaissance Patrons and artists.
Baxandall's main evidence supporting the development of image style is the change in the artist's emphasis on the materials used in painting, as indicated by the terms of the contract between artists. with customer. This is a unique element introduced by Baxandall to examine contracts between patrons and painters and contracts that have not been explored before. He supports this view by reference to a number of contracts, the terminology of which shows how customers demonstrate the outstanding position of skills in materials. In the 1485 contract between Ghirlandaio and Giovanni Tornabuoni, the specific content of the contract states that the background includes numbers, buildings, castles, and cities. ' In the early contracts, the background was bronzing; therefore, Tornabuoni ensured that there was labor expenditure, even if it was not a skill' in this committee.
Buck Sandel said that in the history of art, it can be said that this development is futile. Indeed, in order to ensure that his arguments were placed in the realm of social and cultural history, Baxandall reaffirmed the role, usability and cognition of Italian gold in the fifteenth century. Buck Sandel used the humiliating story of Ambassador Siena at the Alfonso Palace in Naples, telling about his well-dressed costumes as an example of how this conspicuous consumption has been devalued. He cited the need for old money. Be able to stand out from the "new funds." The rise of humanism is the reason why buying skills is a valuable asset for display.
This is the main difficulty for Baxandall to determine the impact of society on the style of the picture through terms of trade. How does a viewer of a painting identify the skills that have been purchased? Baxandall raised the issue himself and said there was no record in the contract. At that time, the views on painting were usually not recorded because they were considered today to have no evidence to prove this. In addition, nothing in the contract can prove that Baksandel has presented us with allegations of the actual aesthetics of the painting; the expression of the character; the icon, proportion or color to be used.
Joseph Manka particularly criticized this chapter, pointing out that "Buck Sander's early contract discussion allowed us to imagine a dependent artist who was ready to respond to his customers or the public's mood." We know this is not true. Bellini refused to paint for Isabella Este because he did not like to paint for her design. Although Perugino accepted the commission of Isabella, he found that the theme was very suitable for his artwork.
Baxandall does not provide accommodation for the artist's emerging institutions and the materials they can get because they have an impact on style. The style of Andrea Mantegna was influenced by his visit to Rome, where he saw many discoveries from ancient Rome and often brought them back to Mantua. In addition, Baxandall did not examine the training the artist received in Italy in the fifteenth century to determine whether this might be an explanation of their style or how they were developed. All painters Baxandall attended the seminar and were trained by the masters. Therefore, these seminars will produce a style. It is recognized that Squarcino's students, including Mantegna and Marco Zoppo, share common characteristics in their art. In 1996, he said, "I don't like the first chapter of painting and experience." I quickly finished because I needed something and it was a bit rude to me.
The central chapter of "Painting and Experience" is an overall notification of the cognitive style of Chapter 2, which is the most important chapter for me, and [and] comes directly from anthropology. This chapter is Baxandall's thought about the "eye cycle."
Baxandall opened the eyes of the eye cycle. By stating that the physiological methods we see are the same, but at the time of interpretation, the visually perceived human device is no longer unified, from one person to the next. Simply put, the "eye cycle" eyes are like this. It is a social behavior and cultural convention that shapes visual forms in a particular culture. In addition, these experiences are shaped and represented by this culture. Because these customers created a brief introduction to the artist's important representations of these cultures. The artist then delivers the painting in a way that meets the customer's requirements, including these culturally significant items in their paintings. Baxandall's chapter on the "eye cycle" eye is the tool we use so that our 21st century audience can see fifteenth century Italian paintings from the same perspective as the fifteenth century Italian merchants. Period Eyes ' is an innovative concept that embodies a synchronic approach to understanding art production. It got rid of the causal relationship between the exploration of art history in the early 1970s. But how is it built?
Buck Sandel asserts that many of the skills acquired by observers while observing painting are outside of painting. Here, he studied the economic conspiracy of the commercial community in Florence, and pointed out that barrel measurement, three rules, arithmetic and mathematics are skills that businessmen need very much, which allows them to see a more complex visual device that can observe painting. Baxandall believes that things such as gauges can be executed at a glance, allowing business classes to perceive the geometry in the painting and understand the size and proportion of other objects they contain in the painting.
Baxandall also returned to dance and gestures as a further example of social practice at the time, enabling the painter to understand what was happening. Baxandall asserts that the extensive participation of Bassa Danza enables the court and business class to see and understand the movements in the painting.
A major problem with the application of the "eye cycle" eye. Prove that it has been applied correctly. How do you know if you are right with Baxandall's method - Is it possible for the British in the 21st century to think of a painting as a fifteenth-century businessman, even if it has an understanding of the Italian Renaissance society and culture? Evidence from the Baxandall relationship suggests that the image style of Italian painting in the fifteenth century seems to be very fragile. Goldman Sachs questioned Baxandall in his comments on painting and experience, saying there is no evidence that modern building contractors and carpenters are particularly good at identifying the components they see in Mondrian. Similarly, the arguments presented by Goldman Sachs can be inferred from other examples used by Baxandall, such as dances that reflect movement in painting. An example is Botticelli' Pallas and Centaur' Baxandall describes it as an influential...
Orignal From: Comment on the paintings and experiences of Michael Buck Sandel in the 15th century Italy
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