BOUBLI Lizzie.
The invention of sketching during the Renaissance.
CNRS editions
Regular price
€27,00
| N° d'inventaire | 30269 |
| Format | 15 X 23 |
| Détails | 312 p., paperback. |
| Publication | Paris, 2023 |
| Etat | Nine |
| ISBN | 9782271095275 |
Not everyone knows that "sketch" comes from the Italian "schizzo" (squirt, jet), but no one thinks they don't know what it is: a preparatory drawing, done in broad strokes, where the artist fixes a first approximate version of the work he imagines, which will serve as a model to guide him in the execution of the painting itself. A sort of graphic draft, whose origins are undoubtedly as old as painting itself, the sketch is recognizable at first glance, and presents itself as a practice without mystery for anyone interested in the visual arts... Unless these false evidences hide its true history and its true stakes from us?
Sketching has undoubtedly been practiced on all sorts of supports since prehistory, but no trace of it has been preserved before the end of the Middle Ages. It was in Italy, in the middle of the 15th century and during the 16th , that everything changed. Not only did artists (painters, sculptors, architects) multiply sketches and begin to preserve them preciously, but the very concept of schizzo became the subject of vast theoretical debates which would radiate throughout Europe: Renaissance Italy invented sketching as a major intellectual process of creation. Hollanda, Vasari, Vinci, Armenini, etc. sought its definition and explored its diversity (initial inspiration, speed of execution, movement, imperfection, first thought, first draft, stain, model, etc.)
These are the sources that Lizzie Boubli brings together here to analyze in depth this artistic and theoretical revolution that has left us with an immense treasure: the working drawings that contain the secrets of the work in its nascent state. A rich annotated portfolio allows us to compare concepts and achievements, while freely strolling through the cabinet of the greatest masters.
Sketching has undoubtedly been practiced on all sorts of supports since prehistory, but no trace of it has been preserved before the end of the Middle Ages. It was in Italy, in the middle of the 15th century and during the 16th , that everything changed. Not only did artists (painters, sculptors, architects) multiply sketches and begin to preserve them preciously, but the very concept of schizzo became the subject of vast theoretical debates which would radiate throughout Europe: Renaissance Italy invented sketching as a major intellectual process of creation. Hollanda, Vasari, Vinci, Armenini, etc. sought its definition and explored its diversity (initial inspiration, speed of execution, movement, imperfection, first thought, first draft, stain, model, etc.)
These are the sources that Lizzie Boubli brings together here to analyze in depth this artistic and theoretical revolution that has left us with an immense treasure: the working drawings that contain the secrets of the work in its nascent state. A rich annotated portfolio allows us to compare concepts and achievements, while freely strolling through the cabinet of the greatest masters.
Sketching has undoubtedly been practiced on all sorts of supports since prehistory, but no trace of it has been preserved before the end of the Middle Ages. It was in Italy, in the middle of the 15th century and during the 16th , that everything changed. Not only did artists (painters, sculptors, architects) multiply sketches and begin to preserve them preciously, but the very concept of schizzo became the subject of vast theoretical debates which would radiate throughout Europe: Renaissance Italy invented sketching as a major intellectual process of creation. Hollanda, Vasari, Vinci, Armenini, etc. sought its definition and explored its diversity (initial inspiration, speed of execution, movement, imperfection, first thought, first draft, stain, model, etc.)
These are the sources that Lizzie Boubli brings together here to analyze in depth this artistic and theoretical revolution that has left us with an immense treasure: the working drawings that contain the secrets of the work in its nascent state. A rich annotated portfolio allows us to compare concepts and achievements, while freely strolling through the cabinet of the greatest masters.