By Leon Battista Alberti
Leon Battista Alberti used to be probably the most vital humanist students of the Italian Renaissance. energetic in mid-fifteenth-century Florence, he used to be an architect, theorist, and writer of texts on viewpoint and portray. Alberti's On portray is a cardinal paintings that revolutionized Western artwork. during this quantity, Rocco Sinisgalli offers a brand new English translation and significant exam of Alberti's seminal textual content. Dr. Sinisgalli reverses the acquired knowing of the connection among the Italian and Latin types of Alberti's treatise via demonstrating that Alberti wrote it first in Italian after which translated it right into a polished Latin over the process a number of a long time. This quantity is richly illustrated to assist exhibit how Alberti understood optics and paintings.
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Extra resources for Leon Battista Alberti: On Painting: A New Translation and Critical Edition
Sample text
This masochistic narcissism sexualizes our relation to the world at the same time that it eliminates the difference between the world and the ego. The project of Arts of Impoverishment, reformulated and pursued in new contexts here, was to investigate the possibility of ego-identifications (or ego-extensions, we would now be inclined to say) not reducible to a sexualizing shattering of the ego or to the sadistic project of destroying what is different from the ego. Laplanche’s notion of the enigmatic signifier could be thought of as a reformulation of the antagonism between the self and the external world.
3 But Christ will die and be buried, and will then reappear, resurrected; there is nothing in that resurrection that corresponds to the between-ness Caravaggio emphasizes. This between-ness means that Lazarus is neither dead nor alive, or that he is both. He is, in any case, not readable as either one or the other, and his unreadability is reinforced by the irreducible ambiguity of that highlighted right hand. Is it “an antique gesture of acclamation”? Perhaps. But if we fix our attention on what is going on here, within Caravaggio’s painting, the gesture can also be read as simultaneously open to contacts and repelling them.
Given the central motif of a blessing in the Supper at Emmaus, we might conclude that Caravaggio has painted the sanctification of all objects in space. But how exactly should we look at a world in which there is no supremely privileged object, no recognizable and recognized point to focus the spirit and the gaze? The process of sanctifying equalization we have just described requires 21 W L ? 3 Supper at Emmaus, c. 1606. Milan, Pinacoteca di Brera. 22 W L ? a new kind of look on our part, a look bound to be at first a disoriented look.