DOI Heft:
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DOI Heft:Obsah / Contents
DOI Artikel:Piñero Moral, Ricardo Isidoro; Dohna Schlobitten, Yvonne: Iconosophy: the relationship between colour theory and iconography (Goethe and Turner. The labyrinth of word and light)
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.31179#0239
P. ALv/kt IPY^Zřt;
7440 — 7444. Pa*v'r, Lc^/ym
with beauty and light, did not paint a still and har-
monious world, but rather one subject to dramatic
moments. But he did not show a mere intellectual
expérience of that drama; like in Rembrandt and
Lorrain, he engulfed the observer in the painting
itself and made it an integral part of the observera
expérience. Light should lead, light moves not only
the eye of the observer but also his heart.
We are drawn into the wild chaos of colour. We
feel the change from darkness to light. But Turner
goes beyond that, and we feel that his représenta-
tion is more than a discourse on individual feelings
between the observer and the aesthetic movement
of the painting. His LLhw (GtWAr TAory)
- LA ALnLyg /A D<Ag<? — Afo^r ILAAzy /A BooA o/
becomes an event of the cosmos. The world
^ BRUSATIN, M.: Tknk kk<roBn. Torino 2000, p. 45.
^ VENTUR1, L.: Jknk AZk kkkř. Torino 2000, p. 53.
In the Baroque, there were movements, especially in the
Church, which tried to limit the wider, atmospheric and
psychological impact of colour. Cardinal Paleotti published
an iconographie code to steer the conscience of the artist
(1582 — 1594), setting the rules of what the artist could and
could not do. The artist was to be a silent theologian: the
imperfect human being was not allowed to penetrate into the
méditation of things sublime without the support of senses
participâtes. All his landscapes hâve this wider and
universal character.
In fact, the change of aesthetics in art and the
perception of art itself was deeply connected to
modem science's radical new vision of the infinite
cosmos.
77.4 7//?/.yz'(973
Artists translated into art the scientihc discoveries
of space and time produced by modem scientists
from Galileo onwardsA From the Renaissance on, it
was possible to enlarge limited spaces and make time
visible in the work of art. Baroque artists succeeded in
creating space through colour and giving movement
to colourT As a resuit of empiricism and rational-
and ideas. The moral literatuře on art like D<? jwm?
(1634) of Cardinal Federico Borromeo, or the Prkkk writ-
ten in collaboration with the Jesuit Ottonelli and the painter
Pietro da Cortona, does not show any interest in aesthetics
(p. 128). The pure contemplation of physical beauty is not
enough, it should be elevated to a moral sphere, and should
exclude spontaneous religious expressions. Bcllori theorized
this point by contrasting naturalism to the ideal. Cardinal
Paleotti warned against, and condemned, the independence
of colour which, he argued, should always be connected to
iconography. This stance announced the growing cnticism of
235
7440 — 7444. Pa*v'r, Lc^/ym
with beauty and light, did not paint a still and har-
monious world, but rather one subject to dramatic
moments. But he did not show a mere intellectual
expérience of that drama; like in Rembrandt and
Lorrain, he engulfed the observer in the painting
itself and made it an integral part of the observera
expérience. Light should lead, light moves not only
the eye of the observer but also his heart.
We are drawn into the wild chaos of colour. We
feel the change from darkness to light. But Turner
goes beyond that, and we feel that his représenta-
tion is more than a discourse on individual feelings
between the observer and the aesthetic movement
of the painting. His LLhw (GtWAr TAory)
- LA ALnLyg /A D<Ag<? — Afo^r ILAAzy /A BooA o/
becomes an event of the cosmos. The world
^ BRUSATIN, M.: Tknk kk<roBn. Torino 2000, p. 45.
^ VENTUR1, L.: Jknk AZk kkkř. Torino 2000, p. 53.
In the Baroque, there were movements, especially in the
Church, which tried to limit the wider, atmospheric and
psychological impact of colour. Cardinal Paleotti published
an iconographie code to steer the conscience of the artist
(1582 — 1594), setting the rules of what the artist could and
could not do. The artist was to be a silent theologian: the
imperfect human being was not allowed to penetrate into the
méditation of things sublime without the support of senses
participâtes. All his landscapes hâve this wider and
universal character.
In fact, the change of aesthetics in art and the
perception of art itself was deeply connected to
modem science's radical new vision of the infinite
cosmos.
77.4 7//?/.yz'(973
Artists translated into art the scientihc discoveries
of space and time produced by modem scientists
from Galileo onwardsA From the Renaissance on, it
was possible to enlarge limited spaces and make time
visible in the work of art. Baroque artists succeeded in
creating space through colour and giving movement
to colourT As a resuit of empiricism and rational-
and ideas. The moral literatuře on art like D<? jwm?
(1634) of Cardinal Federico Borromeo, or the Prkkk writ-
ten in collaboration with the Jesuit Ottonelli and the painter
Pietro da Cortona, does not show any interest in aesthetics
(p. 128). The pure contemplation of physical beauty is not
enough, it should be elevated to a moral sphere, and should
exclude spontaneous religious expressions. Bcllori theorized
this point by contrasting naturalism to the ideal. Cardinal
Paleotti warned against, and condemned, the independence
of colour which, he argued, should always be connected to
iconography. This stance announced the growing cnticism of
235