Paris (F), 14.12.-16.12.

2009

Architectura Picta
The Representation of Architecture in Painting (1300 - 1600) This conference is dedicated to the representations of architecture in both painting and drawing. It has been organized around an interdisciplinary topic and developed in the context of European scholarship, embracing a wide spectrum of topics spanning from the metaphorical significance of architectural monuments, encompassing both ruins and buildings in progress to the actual pictorial modes with which architectural spaces are evoked, bearing in mind processes such as fragmentation, transmutation and codification, as well as stylistic elements like the emulation of plasticity and chiaroscuro. Central themes in this discussion will be the migration of artistic formulas and ideas, how these ideas circulated, and the artistic dialogue between "North and South". Since antiquity the art of building has been tightly linked to other arts - painting, drawing, relief sculpture, literature and music - which afforded artists a broad spectrum of complimentary and interrelated experiences. At the same time, architectural projects offered to the other arts not only artistic models but also theoretical concepts and structures. In some cases it was precisely painted architecture that anticipated the advent of new architectural formulae. Painted architecture can also underline recent artistic and technical developments, or provide a variety of solutions to theoretical problems, such as historical reconstructions or elaborate architecture that is genuinely produced by artistic phantasy, freed from any real technical constraints. The way in which painters represent buildings, interiors or urban spaces unveils not only the artists personal perceptions and interpretations of the physical environment but also that of his cultural 'milieu'. Adopting an approach that is both synchronic and diachronic, this conference seeks to analyze fluid exchanges between the history of architecture and the visual arts between 1300 and 1600. Giotto was the pioneer in reviving certain antique models in his paintings, prefiguring the artistic approach of the Renaissance. With his treatises 'On Painting and On the Art of Building', Leon Battista Alberti offered new points of reference and stimulated a variety of experiences, for example with his provocative suggestion that architectural elements are the invention of painters, or his distinction between architectural drawing and drawings for the visual arts. Generally, the principal experimenters of the fifteenth century - Alberti, Donatello, Mantenga, Piero della Francesca, Perugino, Botticelli, Pinturicchio, Francesco di Giorgio sought to find new solutions using painted architecture to assimilate ancient paradigms into modern aesthetic principles. The invention of pictorial perspective made particular use of "architectura picta", creating space for the painted 'Historia', which on the one hand relies on the study of architecture and on the other hand consists in the elaboration of the rhetorical and narrative function of architectural "bodies" within the pictorial field. Architectural elements such as cornices establish the boundary between the painted world and the realm of viewer, effectively rendering the painted field a window, a proscenium or a tapestry. Moreover, the relationship between the human figure and architecture became a fundamental 'topos' of Renaissance art. Rome in the early sixteenth century was a veritable laboratory of painted architecture, and from its examples were derived the models that became touchstones for later generations. Raphael and his followers enriched and multiplied classical architectural prototypes by

interpreting and drawing them with increasing philological rigor. Beginning in the 1530s there was a codification of architectural language due to the circulation of engravings as well as architectural treatises. Of primary importance here was Sebastiano Serlios treatise, the 'Quarto e Terzo libro' (1537 and 1540, respectively), which were a touchstone not only in the parts of Italy that had not yet experienced the revival of classical architecture, but also in other European countries. At the same time, there were also a number of artists - here one need only think of Pirro Ligorio, Titian or Tintoretto - who continued expanding the repertoire of painted architecture, continued to reinvent models and elaborate new modes of representation. In the context of a debate that seeks to consider both micro-history as well as changes over the 'longue dure', encouraging multiple viewpoints ought to promote a broadening of disciplinary boundaries. Similarly, the conference seeks to incite revisions of the periodization of the history of art and the creative dynamics between artistic genres as well as to develop a more accurate and nuanced understanding of the mutations and interrelations of artistic languages. Internationale Tagung A cooperation between the Kunsthistorisches Institut in Florenz and the cole Pratique des Hautes tudes (Paris) organized by Sabine Frommel and Gerhard Wolf COLE PRATIQUE DES HAUTES TUDES, PARIS KUNSTHISTORISCHES INSTITUT IN FLORENZ (MAX-PLANCK-INSTITUT) 14 - 16 dcembre 2009 Salle Giorgio Vasari INHA, Paris

Programm
14 dcembre 14.30 Sabine Frommel et Gerhard Wolf Introduction aux travaux 15.00 Aude Semat-Nicoud (Universit Paris IV-Sorbonne) I am sorry, but I must go to my tomb now. Limage de la tombe en gypte ancienne (vers 1500- 700 av.Christ) 15.30 Francesco Benelli (Columbia University, New York) L'architettura dipinta di Giotto. Una questione di metodo 16.00 pause caf 16.30 Manuela De Giorgi (Kunsthistorisches Institut Florenz) Architecture en mosaque: le cas du narthex de Saint-Sauveur-in-Chora 17.00

Peter Scholz (Kunsthistorisches Institut Florenz) Creating Space and Shaping Identity. Painted architecture in Paduan Art of the Trecento 17.30 Peter Bokody (Central European University, Budapest) The Cathedral of Siena and the Presentation to the Temple of Ambrogio Lorenzetti 18.00 Philine Helas (Bibliotheca Hertziana, Rom), Gerhard Wolf (Kunsthistorisches Institut Florenz) Sur les marches du temple. Considrations sur l'Architectura Picta du XIVe au XVe sicle 15 dcembre 09.30 Allison Levy (Florence) Grave Cites 10.00 Christoph Luitpold Frommel (Bibliotheca Hertziana, Rom) Architectura Picta e architettura costruita tra Masaccio e Perugino 10.30 pause caf 11.00 Anja Grebe (Universitt Bamberg), Ulrich Gromann (Germanisches Nationalmuseum Nrnberg) Voies de transition : Albrecht Drer et l'architecture de la Renaissance en Allemagne 11.30 Timo Strauch (Humboldt-Universitt zu Berlin / Census) Architecture drawn and painted in the early cinquecento : the painter-architect Antonio da Faenza 12.00 Christophe Brouard (cole Pratiques des Hautes tudes, Paris et Universit de Bordeaux 3) Ruine invente/ruine transpose. Limaginaire du peintre de la Renaissance l preuve des vestiges de lAntiquit 12.30 pause djeuner 14.30 Valentina Liberti (Universit di Roma "La Sapienza") Raffaello: un percorso nella pittura verso l architettura 15.00 Marzia Faietti (Gabinetto Disegni e Stampe degli Uffizi, Florence) La Femme la fentre de Raphal et l'Eve de Corrge. De la boite architecturelle l' architecture de l'infini 15.30

Sabine Frommel (cole Pratique des Hautes tudes, Paris) Entre invention et codification : les arrire-plans d'architecture de Giulio Romano 16.00 pause caf 16.30 Golo Maurer (Universitt Heidelberg) Architetto senza cantiere: Michelangelo fra la Sistina e San Lorenzo 17.00 Christiane Hille (Ludwig-Maximilians- Universitt Mnchen) The Painted Palaces of James I : On the Architectural Ratio of the Kings Body Politic 16 dcembre 09.30 Maria Beltramini (Universit di Roma "Tor Vergata") Entre les Lombardo et Serlio : l'architecture peinte de Paris Bordone 10.00 Howard Burns (Scuola Normale Superiore, Pisa) Paolo Veronese e Andrea Palladio: dialogo o rivalit? 10.30 Sren Fischer (Johannes Gutenberg- Universitt Mainz) A Constitutive Struggle between Realities? - Observations on the Spatial Potential of Painted Architecture in Venetian Villas between 1540 and 1570 11.00 pause caf 11.30 Denise Zaru (Universit de Lausanne) Pour une rhtorique architecturale : des mtaphores textuelles aux mtaphores visuelles 12.00 Olivier Deloignon (Universit de Strasbourg, sad et le Quai) La structure difiante. Formes et usages des reprsentations architecturales dans le livre renaissant 12.30 pause djeuner 14.30 Itay Sapir (Kunsthistorisches Institut Florenz) Lpilogue de lArchitectura Picta renaissante: les ports de Claude Lorrain 15.00 Discussion finale 16.00 Sabine Frommel et Gerhard Wolf Conclusions et fermeture des travaux

Adresse du colloque INHA - Institut national d'histoire de l'art Galerie Colbert 2, rue Vivienne ou 6, rue des Petits Champs 75002 Paris