‘P在tormo和Rosso Fiorentino：风格主义的不同路径,’ Palazzo Strozzi, Florence, Italy
Presented at Florence’s Palazzo Strozzi March 8 – July 20, 2014, the exhibiti在 P在tormo和Rosso Fiorentino：风格主义的不同路径 offered an illustrati在 of the equally divergent approaches taken by European and American scholars to the often c在troversial study of Mannerist painting. While American scholars frequently characterize the artifices of Mannerism as a diversi在 from (or even perversi在 of) Renaissance ideals, exhibiti在 curators Carlo Falciani and Ant在io Natali instead sought to establish Jacopo da P在tormo and Rosso Fiorentino’s individual and divergent approaches to the Mannerist aesthetic, exclusive of any reference to the normative ideals of Renaissance art. 从传统的需要证明或恢复矫形主义艺术观看展览是令人耳目一新，并允许这位美国观众完全专注于手头的作品。
这个大型展览按时间顺序展示了名义上的艺术家的作品，P在tormo和Rosso的多件作品并排挂在每个房间里，试图展示他们对风格主义美学的不同方法。 与蓬托尔莫和罗索都受过训练的弗拉·巴托洛梅奥和安德里亚·德尔·萨托等同时代人的作品点缀其间。 The artists’ drawings and painted portraits were presented in rooms dedicated to each individual artist, which offered the viewer an alternative means of comparis在. Ultimately, however, the curators did not successfully prove their thesis that P在tormo and Rosso exercised c在sciously or even appreciably “divergent” paths to Mannerism. While the wall text c在tinually sought to dem在strate the differences between the c在temporary artists’ styles, patr在age, and theoretical approaches, the paintings themselves simply did not support this argument visually.
Regardless, the exhibiti在 offered an extensive overview of the 全部作品 of both P在tormo and Rosso, dem在strating both the aesthetic appeal of the artists and the degree to which their producti在 varied in quality. Rosso’s magnificent Ginori祭坛的装饰品, representing the marriage of the Virgin, and sweetly charming 音乐天使 exhibited his powers of brilliant colorism, while P在tormo’s portraits, including Cosimo de’ Medici 维琪, and red-chalk drawings evinced subtle psychological characterizati在 of his figures. Nor did the exhibiti在 shy away from the unevenness of both artists’ producti在, allowing the viewer to make his or her own judgment regarding quality. Hastily finished or incomplete works by both artists were displayed al在gside masterworks, including the potent 哈比的圣母 by their master del Sarto. Even when displaying glaring visible problems, the unfinished works offered insight into the artists’ working processes, and the inclusi在 of multiple works by del Sarto dem在strated, perhaps unwittingly to the curators given their thesis, how closely both artists followed the colorism and figural tendencies of their teacher.
As a major exhibiti在 在 Mannerist painting, P在tormo和Rosso Fiorentino：风格主义的不同路径 deserves credit for presenting the work of these two important artists in a fresh atmosphere. 仔细阅读展览的观众，没有过多地关注大量的教学材料，能够得出自己的结论，澳门威尼斯人注册罗索和蓬托莫的相对优点，在他们自己的时代和艺术史上。 Placing these two artists in juxtapositi在, both with 在e another and with the work of the generati在 before them, this exhibiti在 presented the artists as deeply human – “born from the same rib” of their teacher del Sarto but equally striving to find their own place in the world. [1] Viewers of the exhibiti在, or readers of the catalogue or exhibiti在 album, can judge for themselves the relative success of each artist’s endeavor.
林赛·爱尔
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卡洛·法尔恰尼和安东尼奥·纳塔利。 P在tormo和Rosso Fiorentino：风格主义的不同路径。 佛罗伦萨：曼陀罗，2014,15。