Darrera modificació: 2022-08-22 Bases de dades: Sciència.cat
Del Monaco, Gianluca, "L'Illustratore a Bologna tra libri di legge e chiose dantesche: problemi aperti e sviluppi recenti della ricerca", dins: Mariani Canova, Giordana - Toniolo, Federica (eds.), Il codice miniato in Europa: libri per la chiesa, per la città, per la corte, Pàdua, Il Poligrafo, 2015, pp. 335-353.
- Resum
- This paper is intended to present the developments of my research on the artist nicknamed the Illustratore, one of the main illuminators in Bologna in the 1330s-40s. The first half of the paper deals with the addition of a Parvum Volumen held by the Bibliothèque Municipale in Bordeaux (MS 355.1) to the artist's known body of works. As François Avril kindly indicated to me, the artist painted three two-column frontispieces in the manuscript, at the beginning of the Institutiones (fol. 1), the Tres libri (fol. 205), and the Consuetudines feudorum (fol. 275). In these miniatures the artist appears in a transitional phase from the balanced composition and the plainly built space of his earlier works, influenced by the updating to Giotto of the 1328 Master, to the chaotic upheaval of his most famous works. The same phase is observable in two other Parvum volumen in Edinburgh (National Library of Scotland, Advocates MS 10.1.4(i)) and Munich (Bayerische Staatsbiliothek, Clm 3502) and in an Infortiatum in Paris (Bibliothèque Nationale de France, MS Latin 14340). In the second half of my paper, I try to examine the Illustratore's role in Bolognese Gothic illumination and art in general. By starting from the still fundamental interpretation of the artist's oeuvre by Roberto Longhi, I suggest a connection between «quel linguaggio corsivo, asintattico e vivacemente narrativo» at the heart of Illustratore's art, a point already identified by Longhi, and the function of the concrete visualisation of law as a sort of visual commentary on the legal manuscripts produced in Bologna. In the paper I confirm this hypothesis with regard to the way the artist valued narrative in a non-legal manuscript, the Divine Comedy Riccardiano 1005 in Florence, and in a few law books ranging from the above mentioned manuscript of Bordeaux to the well known Gratian Vat. lat. 1366. Finally, I return to this consideration of the illustration of legal manuscripts to focus on the artist's connections – recognized in modern scholarship since Longhi – to Giotto, the north-European Gothic tradition and, especially, to Buffalmacco's murals in the Camposanto of Pisa.
- Matèries
- Història de l'art
Dret - Legislació Manuscrits Il·lustracions
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