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Publicação
A ciência pictórica na Europa : 1430–1530 : iconopoiese e ensino, confluência e singularidade
| Nome: | Descrição: | Tamanho: | Formato: | |
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| Vol. I | 3.87 MB | Adobe PDF | ||
| Vol. II | 47.67 MB | Adobe PDF |
Resumo(s)
Em 1435, Leon Battista Alberti, publicou o tratado De Pictura, onde introduziu uma nova e paradigmática dimensão modelar do artista enquanto homem de cultura e de ciência, inaugurando desta forma a génese de um criador muito mais próximo do arquétipo do cientista do que do tradicional artesão. As raízes estruturais desse modelar artista, educado tanto quanto possível em todas as artes liberais, mas fundamentalmente na matemática e na geometria, contaminará doravante todo o discurso tratadístico. Lorenzo Ghiberti, em 1447, proclamará nos seus Commentarii, a escultura e a pintura, como “scientia di più discipline”, preconizando aos seus cultores o domínio de todas as artes liberais, de entre as quais destaca a perspectiva, a geometria, a anatomia e a aritmética. No mesmo sentido, Leonardo advertirá aos leitores do seu Trattato della Pittura, “Nom mi legga, chi non è matemático”, contribuindo para uma progressiva matematização da realidade pictórica. Nascerá desta forma uma disciplina complexa e multidisciplinar designada como Scientia Pictórica. Este inovador paradigma epistemológico será responsável pela introdução no universo dialectal e tradicional do ensino das artes de uma renovada e óbvia problemática, i.e., uma necessidade extrema de reformular os espaços de laboração e os processos de ensino e instrução, transpondo-os de um receituário exclusivamente artesanal, para uma complexidade teórica e polímata. O seu objectivo último será a demanda de uma absoluta mimésis gnosiológica da natureza. Ao longo deste estudo, mostrar-se-á como esta Scientia nasceu precisamente da concatenação de dois discursos visuais distintos: por um lado, através da meticulosa mimésis setentrional, composta por inúmeros fragmentos ópticos e especulares do quotidiano, sistematicamente compostos num simulacro de universo espacial implausível; por outro, através do meridional conceito espácio-temporal matemático e unitário que a intersegazione della piramide visiva Albertiana inaugurou. Esta tese procura assim reinterpretar o debate histórico sobre o estatuto científico da pintura, procedendo-se para o efeito a uma reorganização e reinterpretação teórica no âmbito estrutural das revoluções científicas, aferindo para tal os inconfundíveis traços identitários que uma Iconopoiesis de marcado pendor cientificante induz, i.e., ópticos e matemáticos. Mostrar-se-á como a Scientia Pictórica será indutora de uma alteração definitiva dos padrões gremiais instituídos, promovendo a elevação estatutária dos artistas e contribuindo inegavelmente para a configuração processual de um identitário «fazer» artístico.
In 1435, Leon Battista Alberti published the treatise De Pictura, in which he introduced a new and paradigmatic dimension to the model of an artist as a man of culture and science, thus giving rise to an idea of the creator that is much closer to the archetype of the scientist than of the traditional artisan. The structural roots of this model artist, educated as much as possible in all the liberal arts, but fundamentally in mathematics and geometry, was henceforth to infiltrate the whole discourse of the treatise. Lorenzo Ghiberti, in his Commentarii, was in 1447 to proclaim that sculpture and painting, as “scientia di più discipline”, called for their disciples to master all the liberal arts, and in particular perspective, geometry, anatomy and arithmetic. In the same way, Leonardo was to warn readers of his Trattato della Pittura that “Nom mi legga, chi non è matemático”, thus contributing to the progressive mathematisation of pictorial reality. In this way a complex and multifacted discipline was to emerge, designated Scientia Pictórica, that was a genuine epistemological paradigm, introducing into the dialectical and traditional world of the teaching of the arts new and obvious problems, i.e. an acute need to reformulate working spaces and the processes of teaching and instruction, turning them from an exclusively artisanal set of prescriptions into a theoretical and polymathic complexity, with a view to an absolute gnoseological mimésis of nature. In this study, it will be shown how this Scientia was born precisely from the concatenation of two distinct visual discourses: on one hand, the meticulous northern mimésis, composed of innumerable optical and mirror fragments of the everyday, meticulously composed in a simulacrum of an implausible spacial universe; on the other, the southern concept of mathematical and unitary space-time that was ushered in by the Albertian intersegazione della piramide visiva. This thesis seeks to reinterpret the historical debate about the scientific status of painting by means of a reorganisation and theoretical reinterpretation of the structural ambit of scientific revolutions gauging in the process the unmistakeable traces of identity that are induced by an Iconopoiesis with a marked scientising tendency, i.e. optics and mathematics. It will be shown how Scientia Pictórica was to have a direct impact on the theoretical and practical diffusion, prompting a definitive change in established professional patterns, promoting the elevation of artists' status and undeniably contributing to the procedural configuration of identity-shaping artistic “doing”.
In 1435, Leon Battista Alberti published the treatise De Pictura, in which he introduced a new and paradigmatic dimension to the model of an artist as a man of culture and science, thus giving rise to an idea of the creator that is much closer to the archetype of the scientist than of the traditional artisan. The structural roots of this model artist, educated as much as possible in all the liberal arts, but fundamentally in mathematics and geometry, was henceforth to infiltrate the whole discourse of the treatise. Lorenzo Ghiberti, in his Commentarii, was in 1447 to proclaim that sculpture and painting, as “scientia di più discipline”, called for their disciples to master all the liberal arts, and in particular perspective, geometry, anatomy and arithmetic. In the same way, Leonardo was to warn readers of his Trattato della Pittura that “Nom mi legga, chi non è matemático”, thus contributing to the progressive mathematisation of pictorial reality. In this way a complex and multifacted discipline was to emerge, designated Scientia Pictórica, that was a genuine epistemological paradigm, introducing into the dialectical and traditional world of the teaching of the arts new and obvious problems, i.e. an acute need to reformulate working spaces and the processes of teaching and instruction, turning them from an exclusively artisanal set of prescriptions into a theoretical and polymathic complexity, with a view to an absolute gnoseological mimésis of nature. In this study, it will be shown how this Scientia was born precisely from the concatenation of two distinct visual discourses: on one hand, the meticulous northern mimésis, composed of innumerable optical and mirror fragments of the everyday, meticulously composed in a simulacrum of an implausible spacial universe; on the other, the southern concept of mathematical and unitary space-time that was ushered in by the Albertian intersegazione della piramide visiva. This thesis seeks to reinterpret the historical debate about the scientific status of painting by means of a reorganisation and theoretical reinterpretation of the structural ambit of scientific revolutions gauging in the process the unmistakeable traces of identity that are induced by an Iconopoiesis with a marked scientising tendency, i.e. optics and mathematics. It will be shown how Scientia Pictórica was to have a direct impact on the theoretical and practical diffusion, prompting a definitive change in established professional patterns, promoting the elevation of artists' status and undeniably contributing to the procedural configuration of identity-shaping artistic “doing”.
Descrição
Palavras-chave
Pintura - Estética Pintura - Estudo e ensino - Europa - séc.15-16 Pintura - Técnica - Europa - séc.15-16 Arte e ciências Teses de doutoramento - 2020