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DOI article:Kaufmann, Thomas DaCosta: Rzeźba i rzeźbiarze włoscy poza Italią. Problemy interpretacji i możliwości recepcji
DOI Page / Citation link:https://doi.org/10.11588/diglit.48918#0043
RZEŹBA I RZEŹBIARZE WŁOSCY
Bibliografia uzupełniająca
Jak można było zorientować się z powyższego tekstu, oma-
wiany temat ma olbrzymią literaturę. Pewne wyobrażenie o
tej obfitości i ogólną orientację dostarczają prace: T. DaC.
KAUFMANN, Art and Architecture in Central Europę, oraz
J. BIAŁOSTOCKI, Ar/ of the Renaissance inEastern Europę.
Hangary, Bohemia, Poland. Oxford 1976. Wśród dodatko-
wych publikacji odnoszących się do tematu warto polecić
następujące:
O. FREJKOVA, Palladianismus v Ceske Renesanci, Praha
1941.
Furstenhofe der Renaissance. Giulio Romano und die klassi-
sche Tradition. Ex. cat., Wien 1989.
T. DaC. KAUFMANN, TheSchool ofPrague: Painting at the
Court of Rudolf II. Chicago and London 1988.
J. KRCALOVA, Centralni Stavby Ceske Renesance. Praha
1976.
J. KRCALOVA, Renesancni Stavby Baldassara Maggiho v
Cechach a naMorave. Praha 1986.
H. LIETZMANN, Das Neugebdude in Wien. Sułtan
Siileymans Zelt - KaiserMaximilians II. Lustschloss. Munich
und Berlin 1989.
A. MIŁOBĘDZKI, Architektura polska XVII wieku. Warsza-
wa 1980.
P. PREISS, Italsti umelci v Praze: Renesance, Manyrismus,
Baroko. Praha 1986.
R. WAGNER - RIEGER, Die Baukunst des 16. und 17.
Jahrhunderts in Osterreich. Ein Forschungsbericht. "Wiener
Jahrbuch fur Kunstgeschichte" 30 (1965) s. 175-224.
Thomas DaCosta Kaufmann
ITALIAN SCULPTORS AND SCULPTURE OUTSIDE OF ITALY. PROBLEMS OF
APPROACH, POSSIBILITIES OF RECEPTION
Summary
This paper combines two lectures: The Renaissance
and Art Outside of Italy: Trends and Possibilities of
Interpretation (Renaisance Society of America, Duke
University Durham, N.C., 13 April, 1991); Italian
Sculptors and Sculpture in (Central) Europę: Problems
and Possibilities ofReception (International Conference
on Italian Sculpture and Sculptors North of the Alps,
1500-1800, International Research & Exchanges Board,
Polish Academy of Sciences, Palazzo Doria, Romę, 10
June, 1991). An English-language version is to be pub-
lished in Claire Farago, ed., Reframing the Renaissance:
Visual Culture in Europę and Latin America, 1450-
1650. New Haven and London 1995. Chapter2.
This essay aims to contribute to understanding Eu-
ropean culture of the early modern period as a process
of cultural exchange and interchange. Despite the wide-
spread evidence of Italianate culture throughout the
World during this era, this topie has hardly been adequ-
ately conceptualized in most art historical writing, inclu-
ding that represented by newer Anglo-Saxon trends.
In particular, a critiąue of earlier interpretations of
Italian sculpture and sculptors outside Italy reveals mo-
nographic, nationalistic, stylistic, and anthropological
tendencies. The first of these reduced the problem to the
individual level; the second was also one-sided in its
emphasis on Italian genius, ignoring processes of artistic
exchange. The third in generał supplanted them, beco-
ming a standard linę of interpretation, as expressed in
notions of the spread of the Renaissance and Manne-
rism. Yet numerous difficulties also arose in regard to
the interpretation of the obviously different visual ma-
nifestations of extra-Italian forms. Hence Jan Białosto-
cki developed the idea of a local stylistic variant. But
Białostockie conceptualization of the vemacular in di-
stinction to the intemational Italianate overlooks the
Italian origins of many supposedly local forms. Instead,
another model of cultural diffusion, that avoids que-
stions of influence and interaction, can be derived from
the anthropological conception of acculturation. The
picture of cultural circulation is however morę compli-
cated, demanding a morę active account of reception.
Other models of acculturation are thus adduced,
including some proposed by Marshall Sahlins, that set
stylistic change and individual accomplishments in re-
lation to issues of taste and fashion, theoretical motiva-
tions, education, and other bases for familiarity with
Italian culture. The question of taste involves the role of
"royal fancy", fashion as self-promotion, and the Italia-
nate as an alternative to the antique. Theoretical motiva-
tions can be related to humanist education: these rein-
forced the ethic of magnificence, and led to the adoption
of notions of decorum favoring the assimilation of clas-
33
Bibliografia uzupełniająca
Jak można było zorientować się z powyższego tekstu, oma-
wiany temat ma olbrzymią literaturę. Pewne wyobrażenie o
tej obfitości i ogólną orientację dostarczają prace: T. DaC.
KAUFMANN, Art and Architecture in Central Europę, oraz
J. BIAŁOSTOCKI, Ar/ of the Renaissance inEastern Europę.
Hangary, Bohemia, Poland. Oxford 1976. Wśród dodatko-
wych publikacji odnoszących się do tematu warto polecić
następujące:
O. FREJKOVA, Palladianismus v Ceske Renesanci, Praha
1941.
Furstenhofe der Renaissance. Giulio Romano und die klassi-
sche Tradition. Ex. cat., Wien 1989.
T. DaC. KAUFMANN, TheSchool ofPrague: Painting at the
Court of Rudolf II. Chicago and London 1988.
J. KRCALOVA, Centralni Stavby Ceske Renesance. Praha
1976.
J. KRCALOVA, Renesancni Stavby Baldassara Maggiho v
Cechach a naMorave. Praha 1986.
H. LIETZMANN, Das Neugebdude in Wien. Sułtan
Siileymans Zelt - KaiserMaximilians II. Lustschloss. Munich
und Berlin 1989.
A. MIŁOBĘDZKI, Architektura polska XVII wieku. Warsza-
wa 1980.
P. PREISS, Italsti umelci v Praze: Renesance, Manyrismus,
Baroko. Praha 1986.
R. WAGNER - RIEGER, Die Baukunst des 16. und 17.
Jahrhunderts in Osterreich. Ein Forschungsbericht. "Wiener
Jahrbuch fur Kunstgeschichte" 30 (1965) s. 175-224.
Thomas DaCosta Kaufmann
ITALIAN SCULPTORS AND SCULPTURE OUTSIDE OF ITALY. PROBLEMS OF
APPROACH, POSSIBILITIES OF RECEPTION
Summary
This paper combines two lectures: The Renaissance
and Art Outside of Italy: Trends and Possibilities of
Interpretation (Renaisance Society of America, Duke
University Durham, N.C., 13 April, 1991); Italian
Sculptors and Sculpture in (Central) Europę: Problems
and Possibilities ofReception (International Conference
on Italian Sculpture and Sculptors North of the Alps,
1500-1800, International Research & Exchanges Board,
Polish Academy of Sciences, Palazzo Doria, Romę, 10
June, 1991). An English-language version is to be pub-
lished in Claire Farago, ed., Reframing the Renaissance:
Visual Culture in Europę and Latin America, 1450-
1650. New Haven and London 1995. Chapter2.
This essay aims to contribute to understanding Eu-
ropean culture of the early modern period as a process
of cultural exchange and interchange. Despite the wide-
spread evidence of Italianate culture throughout the
World during this era, this topie has hardly been adequ-
ately conceptualized in most art historical writing, inclu-
ding that represented by newer Anglo-Saxon trends.
In particular, a critiąue of earlier interpretations of
Italian sculpture and sculptors outside Italy reveals mo-
nographic, nationalistic, stylistic, and anthropological
tendencies. The first of these reduced the problem to the
individual level; the second was also one-sided in its
emphasis on Italian genius, ignoring processes of artistic
exchange. The third in generał supplanted them, beco-
ming a standard linę of interpretation, as expressed in
notions of the spread of the Renaissance and Manne-
rism. Yet numerous difficulties also arose in regard to
the interpretation of the obviously different visual ma-
nifestations of extra-Italian forms. Hence Jan Białosto-
cki developed the idea of a local stylistic variant. But
Białostockie conceptualization of the vemacular in di-
stinction to the intemational Italianate overlooks the
Italian origins of many supposedly local forms. Instead,
another model of cultural diffusion, that avoids que-
stions of influence and interaction, can be derived from
the anthropological conception of acculturation. The
picture of cultural circulation is however morę compli-
cated, demanding a morę active account of reception.
Other models of acculturation are thus adduced,
including some proposed by Marshall Sahlins, that set
stylistic change and individual accomplishments in re-
lation to issues of taste and fashion, theoretical motiva-
tions, education, and other bases for familiarity with
Italian culture. The question of taste involves the role of
"royal fancy", fashion as self-promotion, and the Italia-
nate as an alternative to the antique. Theoretical motiva-
tions can be related to humanist education: these rein-
forced the ethic of magnificence, and led to the adoption
of notions of decorum favoring the assimilation of clas-
33