Preview

Observatory of Culture

Advanced search

Portal to the Past: Depiction of Space in the Book Miniatures in the Renaissance Venice

https://doi.org/10.25281/2072-3156-2018-15-3-309-320

Abstract

This article investigates the painted miniatures of manuscripts and early printed books of the second half of the 15th century performed in the art workshops of the Renaissance Venice and Padua. The author determines the main development stages of the principles of space depicting in the picturesque design of manuscripts and printed books. The relevance of study of this topic is caused by the fact that it has been on the periphery of research attention for a long time, obscured by other historical and artistic problems. The scientifi c novelty of the research revealed the new principles of constructing spatial composition and formation of new typology of landscape in Venetian art. For the main research method, the author uses the formal-style analysis and structural analysis. It demonstrates how simultaneously with the change of the sheet decoration structure there appeared the new opportunities for the placement of spatial composition. At an early stage, the manuscript sheet decoration consisted of the depiction of painted architecture treated in the guise of triumphal arch or classical altar with inscription, which gradually has been getting form of imaginary façade with ornaments and fragments of text upon it (the so-called architectural frontispiece type). The next faze consists in the emergence of natural motifs near it and its progressive development in the form of autonomous landscape, which one can see in the works of leading Venetian illuminator in the time circa 1500 Benedetto Bordon. The author investigated the basic types of manuscript decoration that included the depiction of landscape as well as its basic iconographical formulae. The signifi cance of the study lies in that fact which helps to explore the new sources of Venetian mythological painting, going back to the stylistic features and compositional principles of the Late Quattrocento miniature.

About the Author

Evgeny V. Yaylenko
Lomonosov Moscow State University
Russian Federation


References

1. Shidlovskaya E.V. All’antica Motifs in the Italian Quattrocento Book Illustrations, Iskusstvoznanie [Art Studies], 2012, no. 1—2, pp. 189—222 (in Russ.).

2. Canova G.M. Illuminated Miniatures —Vehicles for Antiquity, In the Light of Apollo. Italian Renaissance and the Greece. Athens, Silvana Editoriale Publ., 2003, pp. 258—260.

3. Toniolo F. The Art of the Book. Manutius and the Illustrated Book in Venice between the Fifteenth and Sixteenth Centuries, Aldo Manuzio. Renaissance in Venice. Venice, Marsilio Publ., 2016, pp. 91—105.

4. Rotenberg E.I. Stankovaya kartina ital’yanskogo Kvatrochento. Manten’ya, Iskusstvoznanie [Art Studies], 2004, no. 2, pp. 5—64.

5. Fortini Brown P. Venice and the Antiquity. The Venetian Sense of the Past. New Haven and London, Yale University Press, 1996, 361 p.

6. Schröter E. Eine unveröffentliche Sueton-Handschrift in Göttingen aus dem Atelier des Bartolomeo Sanvito, Jahrbuch der Berliner Museen, 1987/1988, vol. 29/30, pp. 71—121.

7. Signorini M. A script of Bartolomeo Sanvito, Getty Research Journal, 2011, no. 3, pp. 151—161.

8. Brown D.A. Leonardo da Vinci. Origins of a Genius. New Haven and London, Yale University Press, 1998, 248 p.

9. Joost-Gaugier C.L. A Pair of Miniatures by a Panel Painter: The Earliest Works of Giovanni Bellini? Paragone Arte, 1979, no. 357, pp. 48—71.

10. Righetti M. Indagini su Gerolamo da Cremona mi¬niature, Arte Lombarda, 1974, vol. 19, pp. 32—42.

11. Winter, De P.M. Girolamo da Cremona, The Dictionary of Art. New York, Grove Publ., 1996, vol. 12, pp. 733—735.

12. Fumians S. Due codici veneti poco noti nella biblioteca di Federico da Montefeltro, Arte veneta. 2002, no. 59, pp. 22—38.

13. Vel’chinskaya I.L. K voprosu o prostranstvennoi srede Yana van Eika [On the question of the spatial environment of Jan van Eyck], Voprosy iskusstvo¬znaniya [Issues of Art Studies], 1996, vol. 8, no. 1, pp. 236—250 (in Russ.).

14. Bollati M. Bordon, Benedetto, The Dictionary of Art. New York, Grove Publ., 1996, vol. 4, pp. 397—398.

15. Massing J.M. “The Triumph of Caesar” by Benedetto Bordon and Jacobus Argentoratensis. Its Icono¬graphy and Influence, Print Quarterly, 1990, no. 7, pp. 2—21.

16. Chechik L.A. The representation of Jerusalem in early Venetian Renaissance painting, Iskusstvoznanie [Art Studies Magazine], 2013, no. 3—4, pp. 317—335 (in Russ.).

17. Armstrong L. Benedetto Bordon, Miniator, and Cartographer in Early Sixteenth-Century Venice, Imago Mundi, 1996, no. 48, pp. 65—92.

18. Zolotova E.Yu. Miniatures of the of Benedetto Bordon’s Workshop in Moscow Collections, Kul’tura, epokhi i stil’: klassicheskoe iskusstvo Zapada [Culture, Epoch and Style: Classical Art of the West : article coll. in honor of 70th anniversary of M. Sviderskaya]. Moscow, Galart Publ., 2010, pp. 248—259 (in Russ.).

19. Armstrong L. The Master of the Rimini Ovid // A Miniaturist and Woodcut Designer in Renaissance Venice, Print Quarterly, 1993, vol. 10, no. 4, pp. 327—363.

20. Donin A.N. Space and Time in the Durer Landscape Watercolors, Iskusstvoznanie [Art Studies Magazine], 2005, no. 2, pp. 54—65.


Review

For citations:


Yaylenko E.V. Portal to the Past: Depiction of Space in the Book Miniatures in the Renaissance Venice. Observatory of Culture. 2018;15(3):309-320. (In Russ.) https://doi.org/10.25281/2072-3156-2018-15-3-309-320

Views: 872


ISSN 2072-3156 (Print)
ISSN 2588-0047 (Online)