Learning to draw, drawing to learn: Theory and practice in Italian printed drawing books, 1600--1700.

摘要

Italian printed drawing books (libri da disegnare) comprise an important body of evidence for our knowledge of artistic training in Italy during the early modern period. Libri da disegnare are groups of printed images that instruct in drawing the human body through a progression, whether by means of line-by-line instructions, following steps from outline to shaded, or building up the body from its individual features. Intended for both professional and amateur audiences, these printed sources were soon copied throughout Europe where they influenced drawing education for the next 400 years.;Tracing the relationship between writing and drawing in the literature of the early modern period, the first chapter explores the origins of the genre within other didactic manuals and within contemporary traditions of elementary education. Next, three case studies explore the ways in which text interacts with images within the genre: Odoardo Fialetti’s two etched drawing books (c. 1608), an unpublished manuscript by Francesco Cavazzoni from 1611, and Giuseppe Maria Mitelli’s books from the end of the century. The third chapter considers how these projects included or rejected information found in other types of printed books used by artists, such as treatises of anatomy, perspective, and proportion. Such study makes it clear that printed drawing books represent a new type of art literature. The final chapter problematizes the monolithic notion of the printed drawing book and suggests that they be discussed within separate categories: books, series, fragments, and copies. This dissertation highlights the diverse formats of Italian drawing books and serves to underscore the varied circumstances of their creation as opposed to the previously held belief that they stemmed more or less exclusively from practice in the Carracci academy. Exploring the origins and forms of the genre in Italy, its country of origin, this study provides a better understanding of artistic education in the decades after the formation of the first academies of art.