Giovanni Pietro Bellori

Giovan Pietro Bellori (pia alijulikana kama Giovan Pietro Bellori au Gian Pietro Bellori; 15 Januari 1613 - 19 Februari 1696)^[1] alikuwa mwananadharia wa sanaa, mchoraji na mpenda vitu vya kale wa Italia, alijulikana zaidi kwa kazi yake ya Lives of the Artists, iliyochukuliwa kuwa sawa na Vite ya Vasari ya karne ya 17. Vite de' Pittori yake, Scultori et Architetti Moderni,^[2] iliyochapishwa mnamo 1672, ilikuwa na ushawishi mkubwa katika kuunganisha na kukuza kesi ya kinadharia ya udhanifu wa kitamaduni katika sanaa.^[3] Kama mwandishi wa historia ya sanaa, alipendelea wasanii wa kitamaduni badala ya wasanii wa Baroque hadi kufikia hatua ya kuwaondoa kabisa baadhi ya watu muhimu wa kisanii wa sanaa ya karne ya 17.

Marejeo

↑ George Alexander Kennedy; H. B. Nisbet; Claude Rawson; Raman Selden, whr. (1989). The Cambridge History of Literary Criticism. Juz. la 4. Cambridge University Press. uk. 110. ISBN 9780521317207.
↑ Malvasia, Carlo Cesare (2000). Malvasia's Life of the Carracci: Commentary and Translation. Penn State Press. uk. 37. ISBN 0-271-01899-2.
↑ Panofsky, Erwin (1968). Idea: a Concept in Art Theory. University of South Carolina Press. uk. 242. Bellori is the "predecessor of Winckelmann" not only as an antiquarian but also as an art theorist. Winckelmann's theory of the "ideally beautiful" as he expounds it in Geschichte der Kunst des Altertums, IV.2.33 ff., thoroughly agrees—except for the somewhat stronger Neoplatonic impact, which is to be explained perhaps more as an influence of Raphael Mengs than as an influence of Shaftesbury—with the content of Bellori's Idea (to which Winckelmann also owes his acquaintance with the letters of Raphael and Guido Reni); he frankly recognizes this indebtedness in Anmerkungen zur Geschichte der Kunst des Altertums (1767), p. 36.

[1] George Alexander Kennedy; H. B. Nisbet; Claude Rawson; Raman Selden, whr. (1989). The Cambridge History of Literary Criticism. Juz. la 4. Cambridge University Press. uk. 110. ISBN 9780521317207.

[2] Malvasia, Carlo Cesare (2000). Malvasia's Life of the Carracci: Commentary and Translation. Penn State Press. uk. 37. ISBN 0-271-01899-2.

[3] Panofsky, Erwin (1968). Idea: a Concept in Art Theory. University of South Carolina Press. uk. 242. Bellori is the "predecessor of Winckelmann" not only as an antiquarian but also as an art theorist. Winckelmann's theory of the "ideally beautiful" as he expounds it in Geschichte der Kunst des Altertums, IV.2.33 ff., thoroughly agrees—except for the somewhat stronger Neoplatonic impact, which is to be explained perhaps more as an influence of Raphael Mengs than as an influence of Shaftesbury—with the content of Bellori's Idea (to which Winckelmann also owes his acquaintance with the letters of Raphael and Guido Reni); he frankly recognizes this indebtedness in Anmerkungen zur Geschichte der Kunst des Altertums (1767), p. 36.

[1]

[2]

[3]