THE HUMANISTIC THEORY OF PAINTING PDF

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THE HUMANISTIC THEORY OF PAINTING

poetry (Cours de peinture Paris

PICTURA POESIS:

THE

HUMANISTIC THEORY OF PAINTING

RENSSELAER W. LEE

INTRODUCTION

T REATISES on art and literature written between the middle of the sixteenth and middle of the eighteenth century nearly always remark on the close relationship between painting and poetry.' The sister arts as they were generally called-and

Lomazzo

observes that they arrived at a single birth2-differed, it was acknowl- edged, in means and manner of expression, but were considered almost identical in funda- mental nature, in content, and in purpose.3 The saying attributed by Plutarch to Simonides that painting is mute poetry, poetry a speaking picture, was quoted frequently and with enthusiasm; and Horace's famous simile ut pictura poesis-as is painting so is poetry4- which the writers on art expected one to read "as is poetry so is painting,"5 was invoked more and more as final sanction for a much closer relationship between the sister arts than

Horace

himself would probably have approved. So deeply rooted, in fact, was the as- sociation of painting with poetry that it is not unusual to find the critics referring in a way that startles the modern reader to poets as painters; and if they do not with equal blunt- ness call painters poets, at least they are almost unanimous in asserting that painting merits serious consideration as a liberal art only by virtue of its likeness to poetry. In the middle of the sixteenth century

Ludovico

Dolce is rather more

inclusive than the average when he declares that not only poets, but all writers, are painters; that poetry, history, and in short, every composition of learned men (qualunque componimento de'dotti) is painting.' I. In preparing this study I have been particularly in- debted to Professor Erwin Panofsky for valuable advice and criticism. Professor Frank J. Mather, Jr., Professor

Walter

Friedlaender,

and

Professor

Samuel

H. Monk of

the

Department

English,

Southwestern

College,

have also given useful suggestions. Mr

Helmut von

Erffa,

Miss

Margot Cutter,

Mrs. Katharine

Pediconi,

and my wife have given generous assistance in various ways.

2. Giovanni

Paolo

Lomazzo,

Trattato dell'arte

della pit- tura, scoltura, et architettura,

Milan,

1585,
vI, 65, p. 486: "Considerando la cagione onde sia nato quel detto antico tanta esser la comformith della Poesia con la pittura, che quasi nate ad un parto l'una pittura loquace e l'altra poesia mutola s'appellarono"; cf.

Leonardo

Vinci,

Trattato

della pittura, ed. H.

Ludwig,

Vienna,

1872,

I, 21,

and see note 6. 3.

This was also

the opinion of antiquity: cf. Aristotle

Poetics

I-II.

Atheniensium

Iii.

346f-347c,

in which occurs the famous aphorism of Simon- ides that painting is mute poetry, poetry a speaking picture. 4. irs poetica 361; see note I5 for the entire passage. 5.

Charles

Fresnoy in

hisquotesdbs_dbs45.pdfusesText_45

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