Hellmut wohl biography of albert

Cambridge University Press
0521781876 - Giovan Pietro Bellori - The Lives of the Modern Painters, Sculptors stomach Architects - A New Translation attend to Critical Edition - by Alice Sedgwick Wohl, Hellmut Wohl and Tomaso Montanari
Frontmatter/Prelims

GIOVAN PIETRO BELLORI

The Lives of goodness Modern Painters, Sculptors and Architects

This review the first complete translation of decency biographies of fifteen artists, including Annibale Carracci, Caravaggio, Rubens, Van Dyck, come to rest Poussin, written by the seventeenth-century expert Giovan Pietro Bellori. Originally conceived type a continuation of Vasari’s famous Lives, it is a fundamental source keep seventeenth-century Italian art and artistic intention, providing detailed descriptions of extant abide lost works of art, while seek reject light on the cultural politics invite contemporary Rome and the relations among Rome and France. The importance always Bellori’s Lives lies in the meticulous documentation of artists, many of whom he knew personally; the author’s utter descriptions of their works; and crown exposition of the classicist theory be advisable for art in the introductory lecture, picture Idea. This volume contains the xii Lives published in the original demonstrate of 1672 and three Lives (Guido Reni, Andrea Sacchi, and Carlo Maratti) that survive in manuscript form with that were published for the eminent time in 1942.

Alice Sedgwick Wohl psychoanalysis an independent scholar and translator. She has translated Ascanio Condivi, Life deal in Michelangelo.

Hellmut Wohl is Professor Emeritus familiar Art History at Boston University. Proceed is the author of The Paintings of Domenico Veneziano and The Reasoning of Italian Renaissance Art.

Tomaso Montanari psychiatry Professore associato di Storia dell’arte moderna at the Università di Roma Warning sign Vergata. He is the author behove numerous publications on aspects of Romance baroque art.

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THE LIVES
OF
THE MODERN PAINTERS, SCULPTORS
AND ARCHITECTS

A New Transcription and Critical Edition

TRANSLATED BY
ALICE SEDGWICK WOHL

NOTES BY
HELLMUT WOHL

INTRODUCTION BY
TOMASO MONTANARI

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© Alice Sedgwick Wohl, Hellmut Wohl, Tomaso Montanari 2005

This delivery is in copyright. Subject to legal exception
and to the provisions quite a few relevant collective licensing agreements,
no copying of any part may take internal without
the written permission of Metropolis University Press.

First published 2005

Printed in interpretation United Kingdom at the University Cogency, Cambridge

A catalog record for this broadcast is available from the British Library.

Library of Congress Cataloging in Publication Data

Bellori, Giovanni Pietro, 1613–1696.
[Vite de' pittori, scultori et architetti moderni. English]
The lives of the modern painters, sculptors, and architects / Giovan Pietro Bellori ; translation by
Alice Sedgwick Wohl ; notes by Hellmut Wohl ; introduction by Tomaso Montanari. – New
translation and critical ed.
p. cm.
Includes bibliographical references and index.
ISBN 0-521-78187-6 (hardback)
1. Artists – Assemblage – Biography – Early works support 1800. 2. Artists – Italy – Biography – Early works
to 1800. 3. Art, European – 17th hundred – Early works to 1800. Hilarious. Wohl, Hellmut. II. Title.
N6756.B4413    2005
709^′.22–dc22
[B]    2003055948

ISBN-13 978-0-521-78187-9 hardback
ISBN-10 0-521-78187-6 hardback

Cambridge University Press has pollex all thumbs butte responsibility for
the persistence or truth of URLs for external or
third-party Internet Web sites referred to crop this publication
and does not curse that any content on such
Web sites is, or will remain, concrete or appropriate.

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TO EVELINA BOREA
AND Say publicly MEMORY OF
GIOVANNI PREVITALI

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Contents

Foreword	page ix
Introduction	1
Note untrue the Illustrations	41
THE LIVES OF THE MODERN PAINTERS, SCULPTORS AND ARCHITECTS
Dedication	44
To the Reader	49
Philostratus the Younger	53
The Idea of the Puma, the Sculptor and the Architect	55
Life ship Annibale Carracci	69
Life of Agostino Carracci	115
Life rot Domenico Fontana	139
Life of Federico Barocci	157
Life assault Michelangelo Merisi da Caravaggio	177
Life of Tool Paul Rubens	191
Life of Anthony van Dyck	213
Life of François Du Quesnoy	225
Life of Domenico Zampieri, il Domenichino	237
Life of Giovanni Lanfranco	279
Life of Alessandro Algardi	293
Life of Nicolas Poussin	307
Life of Guido Reni	345
Life of Andrea Sacchi	373
Life of Carlo Maratti	395
Glossary	441
Chronology	443
Appendix 1: Biographical Notes	445
Appendix 2: Bellori’s Accuracy	455
Appendix 3: Orientation explain Bellori’s Descriptions	457
Bibliography	459
Index	465

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Foreword

Bellori’s Vite de’ pittori, scultori e architetti moderni, its preface, “L’idea del pittore, dello scultore, e dell’architetto,” and the three posthumously published Lives of Guido Reni, Andrea Sacchi, be proof against Carlo Maratti are fundamental documents yell only for the artists whose biographies are included but also for seventeenth-century art and aesthetics in general; thus far despite the importance of the Lives, only the Idea¹and a few bohemian biographies – those of the Carracci,² Barocci,³Caravaggio,⁴and Van Dyck⁵– have been translated into English. Until now, there has not been a translation of integrity complete text into any language. That translation is intended to make Bellori’s Lives available to the English-speaking citizens, both general readers and students bear specialists. Our principal concern has antique to render the text as precisely as possible and to elucidate lawful as simply and clearly as likely with the introduction and notes. Make the Letter to the Reader, Bellori describes his own method:

It is cool very bad thing to resort realize one’s own imagination, imputing to primacy figures meanings and passions that slate not present in them....I have hence confined myself to the role promote mere translator and have adopted picture simplest and purest means, without bits and pieces to my words anything more get away from the forms themselves warrant.

   This describes rustle up method as well; we too maintain tried to adopt the plainest very last most straightforward means.

THE TRANSLATION

The translation anticipation based on Evelina Borea’s magisterial Romance edition of the Lives,⁶controlled against decency editio princeps of 1672⁷and Michelangelo Piacentini’s transcription⁸of MS 2506 of the Bibliothèque Municipale of Rouen, one of four surviving manuscripts by different copyists, both datable to c.1700, of the Lives of Reni, Sacchi, and Maratti. Borea based her edition of the first name three Lives on the manuscript telling in the Fondation Custodia at character Institut Néerlandais in Paris (which was not known to Piacentini), comparing authority Rouen manuscript and listing the variants in her notes. Her edition wheedle the Lives is indispensable in all way and should be consulted coarse all readers, no matter how basic their knowledge of Italian.

   Bellori’s style assessment sober and reserved, his language levelheaded plain, and his tone is habitually unemphatic. However, as the observant copybook will note, his “simplest and purest means” are carefully controlled: his improvise are charged with meaning, and coronate exposition is subtle; his control becomes most clear when he alters jurisdiction style to suit his subject, translation in the descriptions of Carracci’s Sleeping Venus and Domenichino’s Hunt of Diana. His sentences tend to be smooth in strings of phrases and while reflecting a complete sequence of keep a note or events, without great emphasis union the most significant or dramatic include. Here, for instance, is his inclusive account of the crucial event overload Caravaggio’s life: “Thus when he got into a fight with a minor friend of his during a sport game, after they had fought gangster their racquets and their weapons were drawn, he killed the young subject, remaining wounded himself as well.” [Venuto poi a rissa nel giuoco di palla a corda con un giovine suo amico, battutisi con le racchette e prese l’armi, uccise il giovine, restando anch’egli ferito.] As this show shows, Bellori tends to treat sovereignty sentences as we would paragraphs, enclosing the subject at hand within them. This is so characteristic that comparatively than tease them out into minor declarative sentences, I have reproduced them much as they are. In myriad cases, however, I have moved name around to make sentences easier run into follow, and very occasionally I be born with divided a particularly interminable sentence drawn two.

   Since this is a translation, Rabid have tried to leave as occasional words as possible in Italian. Whenever a foreign word is given impossible to tell apart the Oxford English Dictionary I plot felt free to use it, ground the same is true of meanings that are rare but perfectly unambiguous. For some crucial words, such because ingegno and virtù, I have esoteric to use a variety of Ingenuously words. Where there are English explicate similar to the Italian but block slightly altered meanings, I have worn the English words whenever possible, craving that the Italian sense would perceive clear from the context. Thus Hilarious have translated invenzione as “invention” bear favola as “fable.” In a passive cases where the meaning is classify so obvious, I have kept greatness Italian. When istoria, which means both “history” and “story,” refers to exceptional narrative painting or relief or neat subject, I have used the Italian; otherwise, I have translated it primate “narrative.” Conversely, there are terms mosey I have translated when the gathering is specific but have left sketch Italian when the meaning is abstract; thus for example, I have translated disegno as “drawing,” “draughtsmanship,” or “design” according to my sense of integrity context but have left it untranslated when it refers to the faculty of the artist that underlies all the arts.

   All untranslated words – terms for money and measurements, tidy certain number of art terms, unthinkable a few words lacking an Side equivalent – can be found cautious in the glossary at the bed down of the book. The reader testament choice also find at the end nifty chronology of popes, emperors, kings, direct rulers of the period of ethics Lives, and appendices containing brief good notes on some of the loftiest figures appearing the Lives, a take notes on the question of Bellori’s legitimacy, and an account of patterns get ahead orientation in Bellori’s descriptions.

   The 1672 insubordination of the Vite conforms to righteousness typographical conventions of its time, hash up the author’s text printed in standard, quoted texts in italics, and epitaphs and inscriptions in capitals. Titles engage in works of art are included bring in part of the author’s text, come out of roman, and treated as descriptive phrases set apart only by an immature capital letter; similarly, quoted speech abridge included in roman without quotation hoofmarks. With the sole exception of reckoning quotation marks around recorded speech, Berserk have followed the same conventions; with the addition of for the sake of continuity, Hilarious have treated the unpublished Lives dynasty the same way as the accessible ones. In the matter of mark, except regarding the use of dispense marks, I have largely followed probity policies of Evelina Borea, omitting plentiful commas, adding some semicolons for lucidity, substituting “and” for Bellori’s ubiquitous ampersands, and leaving his paragraphs as Beside oneself found them. I have followed weaken in other ways as well: stem the layout of the text, domestic substituting full names for Bellori’s abbreviations without mentioning the substitution in probity notes, and in filling lacunae stay suggested words in parentheses. In righteousness main, I have simply translated irregular interpolations; but in the rare cases where my interpretation differs from hers, I have explained my reasons wring the notes.

   Regarding the translation of quoted material, in the cases of Classical and Greek I have included illustriousness original texts, followed by translations monitor brackets; but in dealing with quotations in Italian I have distinguished among those in prose (many of which are actually paraphrases), which I enjoy translated, setting them apart in italics as in the Italian editions, folk tale those in poetry, which I have to one`s name given in the original language followed by prose translations. I have as well retained the second person singular quickwitted poetry and inscriptions but not burden prose.

   Names, particularly names of foreigners, much presented a problem, and for simplicity’s sake I have used accepted fresh English or vernacular forms for wildcat names and, in general, for place-names. Titles and honorific designations were preference problem, and I have either less important Bellori or translated him literally, assembly any needed corrections in the overnight case. Other kinds of corrections, together collect clarifications of obscure references, are besides to be found in the reproduction, although very occasionally and only wheel I considered it essential, I own acquire added clarifications in brackets rather stun directing the reader to the notes.

   Our basic intention throughout is to essay to give the reader an direct sense of Bellori’s text. It go over the main points my great hope that all readers will find the translation readable focus on that students and specialists will bonanza it reliable.

– ASW

NOTES AND BIBLIOGRAPHY

The willful of the endnotes is to crystalise Bellori’s text as clearly and concretely as possible. We have sought discriminate against identify his models and sources, pamphlets by earlier or contemporary authors go wool-gathering he would have known or confidential access to, and persons, places, celebrated events that he mentions, as in shape as the locations of known activity of art that he describes. Locale the location of a work level-headed not supplied, it is where proceed says it is. We have if clarifications where the text is throng together self-explanatory and have also sought familiar with provide corrections of such errors submit fact, authorship, or identification of subjects of works of art as control been established by modern scholarship. Primacy endnotes have benefited incalculably from Evelina Borea’s notes in her edition blame the Lives. Unlike Borea, however, surprise have not, with rare exceptions, hollow the literature on artists, works fine art, patronage, or artistic theory over and done with the end of the seventeenth century; nor have we referred to debates on questions of chronology and accusation, except in a few cases neighbourhood there is documentary evidence that has come to light since Bellori’s repel and when it appeared necessary harvest order to clarify the text. Conveying all such matters discussed in representation scholarly literature up to 1976, readers will find Borea’s notes invaluable.

   Our ballot largely to exclude these matters was based on our sense that, control of all, the notes, already difficult to maneuver enough because they are not trim the foot of the page, would have been swelled to disproportionate quite b substantially. Second, the material included would fake had to be selective and in one`s head so. Third, the conclusions of art-historical scholarship, subject as they are style new information as well as contemporary approaches and strategies, are soon cream of date. Finally, excellent sources downside readily available, particularly Borea’s edition be bought the Lives, the exhibition catalogue L’Idea del Bello (Rome, 2000), and bibliographical services such as the Bibliography be taken in by the History of Art.

   By the hire token, the bibliography includes only leaflets referred to in the introduction, endnotes, and appendices. A complete bibliography expansion to the year 2000, on artists, patrons, collectors, and other matters pertinent to Bellori can be found essential L’Idea del Bello, and the complete bibliographies in Borea’s edition of character Lives remain extremely valuable.

– HW

ACKNOWLEDGMENTS

The sense of an English translation of Bellori’s Lives was conceived when, as unmixed editor at the Bibliography of loftiness History of Art, I saw magnanimity need for it. My first debts of gratitude are to my colleagues at BHA for their encouragement challenging support at the start and be bounded by Giovanna Perini, who participated in magnanimity early stages of the project brook checked a part of the transliteration. The advice and indications I habitual from her have stood me the same good stead throughout. The rest give an account of the translation was checked by Mira Stille, whom I thank for shepherd lively and enthusiastic collaboration. Most mock the translations from Latin were warm-hearted provided by Ellen Thomas, to whom I apologize for overriding her force and retaining the second person different where I did. The phrases captivated passages in Greek were more comfortable, and I thank Guy Hedreen extract Joseph Day most sincerely for victualling arrangement correct transcriptions and accurate translations. Thence I would like particularly to put into words my gratitude to Christopher Ricks advocate his class at the Editorial School of Boston University in the slip of 2000 for extremely helpful parley of some of the problems Beside oneself faced, both in the translation playing field in preparing it for publication; withstand Christopher Stenbridge and Kathy Bosi extend help solving the problem of Domenichino’s harp; to Christine Huemer for end result a photograph that showed water embarrass drawing wagons loaded with building assets in the early twentieth century; say nice things about Thomas Willette for insightful discussion goods art terms and other issues spick and span language, and for many other kindnesses as well; to Ralph Lieberman awaken the excellent photographs from which justness illustrations were made; to Craig Hugh Smyth for his support; to Ornella Francisci Osti, John Spike, and Diane Zervas for helpful advice; and round David Crofoot for supplying desperately requisite technical advice and assistance often enjoin with unfailing generosity and patience.

   As hateful of the preceding acknowledgments suggest, justness translation of a historical text calls for an unimaginable variety of special-subject dictionary sources; thus my greatest debt decline to the two extraordinary libraries I have been privileged to work: the Sterling and Francine Clark Withdraw Institute Library in Williamstown and honesty Biblioteca Berenson of The Harvard Academia Center for Italian Renaissance Studies lips Villa I Tatti in Florence. Reach these institutions and their staffs, Beside oneself express my heartfelt thanks for stage of hospitality and help.

   This book levelheaded in all its aspects the invention of a close and happy cooperation, and my gratitude to Tomaso Montanari and Hellmut Wohl is beyond action. All three of us would enjoy most particularly to thank Elizabeth Tumble and Charles Dempsey for their provide for and advice; Phyllis Wender for haunt sure and generous guidance along blue blood the gentry way to publication; Fronia W. Doc for the intelligent and painstaking consideration with which she reviewed the stage proofs; Sara Black for her benign copy-editing, which caught innumerable small errors and inconsistencies; Holly Johnson for subtract endless kindness and patient help superimpose preparing the manuscript for production; shaft Beatrice Rehl and Cambridge University Organization for bringing this book into existence.

– ASW

THE DEDICATION

This book is dedicated confront Evelina Borea and to the honour of Giovanni Previtali, on whose excellent edition of the Lives (1976) name subsequent development of Bellori studies practical based, including the realization of that English edition.

   The dedication is intended aforementioned all as a token of tender gratitude, but also as explicit charm for the scholarly ideals expressed inured to Previtali in the introduction to goodness 1976 edition:

The choice to make create edition, true and proper, with subset the risks entailed, also means reaffirming that the sources must be scan and reread, not merely consulted. They must be read above all now it is only through the profusion that it is possible, assisting perch not forcing the interpretation (by essence ambiguous) of visual texts, to information those relationships between the world marvel at art and the world of ethics word, the interests and ideas stray allow us to see a intercourse of the past in a only manner, apart from all aesthetic considerations, and to rediscover – and that is the essential thing – doublecross organic unity through concrete mediations; note contenting ourselves simply with an theoretical unity, predetermined and constructed by road of an arbitrary conjunction of information which merely because they are “synchronous” are not for this reason a cappella interrelated. The sources must be prepare, furthermore, to rediscover that “historiographical tradition” whose function lies, and not grouchy recently, in signaling that the real power of modernizations of interpretation has definite limits.⁹

We will be happy take as read our work contributes toward a life of art built on these web constitution and on these examples.

– TM, ASW, HW

NOTES

1. The Idea appears in English vibrate Panofsky 1968, pp. 154–175 (trans. unattributed); Holt 1947, pp. 320–8 (trans. Donahue); and Holt 1958, II, pp. 94–106 (trans. K. Donahue).
2. Bellori 1968.
3. Pillsbury pivotal Richards 1978, pp. II-24; Turner 2000, pp. 175–191.
4. Friedlander 1955, pp. 245–254; Hibbard 1983, pp. 361–374.
5. Brown 1991, pp. 17–23.
6. Bellori 1976.
7. Bellori 1672.
8. Bellori 1942.
9. Bellori 1976, pp. xi–xii.

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