文艺复兴时期的艺术家不仅受到赞赏，而且最终发现自己与古代艺术家如吉安博洛尼亚和萨沃尔多竞争。本文选取了这两位艺术家，他们的作品分别是Giambologna的“Flying Mercury”雕塑和Savoldo的“Mary Magdalene”绘画。本文将对这两件艺术作品进行简要的历史回顾，在探讨雕塑与绘画的关系的同时，着重于二者的典范，并涉及几个观点的问题。
In context of historical art, Paragone is an Italian word that refers to several theoretical discussions informing the establishment of artistic theory in Italy during the 16th century. These included comparison of different aesthetic attributes surrounding central Venetian and Italian institutes of painting, and if literature or painting had been the more descriptive and convincing source (Merriman 160). However, more often, Paragone can be referred to a debating between the relative advantages of sculpture and painting during the period of Renaissance. Sculpture is an art of sweat, dirt and noise. Opposing to painting that is made from the mind, sculpture is made from the products. It has been identified as an active pathway in visual arts, an option for contemplating life (Scholten 779). The establishment of the paragone is stemmed with the fundamental themes of rivalry and competition that helps in coloring history in the art of Renaissance, specifically in Italy.
Artists of renaissance not only admired, but also ended up seeing themselves in competition with, ancient artists such as Giambologna and Savoldo. These two artists have been selected for the purpose of this essay, and the pieces of their work selected are the sculpture of “Flying Mercury” by Giambologna and the painting of “Mary Magdalene” by Savoldo. Providing a brief historical overview about the two artistic pieces, this essay will focus on the paragone of the two while discussing about the relationship between sculpture and painting, and engaging with the question of several viewpoints.
Out of all the other forms of art, sculpture having power of three dimension seemed to be presenting the biggest challenge among the supremacy of painting (Johnson 62). It had been claimed by a number of artists that they hold the right of arguing in favour of painting as he is well-versed equally within both the forms of art. First, the placement of demands on painter had been greater infinitely in comparison with the one requiring the sculptor.
While the painter did not seem to be having less than 10 considerations in the establishment of his work, the sculptor is supposed to consider only some factors such as rest, position motion, shape and body (Lichtenstein 5). However, a painter has to consider rest, motion nearness, distance, position, shape, body, colour, shade and light. For sculpture, less talent is demanded in comparison with painting.
Second, less physical effort is involved in painting in comparison with the sculpture. Sculpture holds the tendency of causing major perspiration turning towards and mingling with the grit. The face of sculptor is smeared all over and pasted with powder of marble, the dwelling being dirty and full of chips of stone and dust (Merriman 156).
On the other hand, the painter ends up sitting before his work comfortably and well- dressed, and there is application of delicate colours with his brush that is extremely light in colour. His home is adorned and clean with pictures of delight, while enjoying the company of others or music. Finally, even though the greatest asset of sculpture is no doubt the quality of three dimension. The painter can be successful in achieving the impact of relieve within the paintings as it is modelled in shade and light.
The debate regarding the merits of sculpture and painting also is well evident in different works of art. The reliefs can be identified as the most admired works during the early period of Renaissance, and having a major effect on the next generation of painters and sculptors (Pardo 67). It works in juxtaposing a colourful and rich scene that is made possible by recently adopting the source of painting among the painters, along with a fictive arch of stone with grisaille reliefs and statues. This seems to be contrasting the naturalistic textures and colours represented in painting with the sculpture of monochrome (Scholten 777). This showed that a painter can also end up creating the impacts of sculpture over a flat surface.
There can also be a depiction of figures out of multiple angles, along with the incorporation of reflective surfaces across the compositions. Other works tend to be laying emphasis on the connections with antiquity. In the utilization of materials, sculptors from Renaissance were known to be overtly referencing ancient sculpture. This illustrated the advantages to create lasting memorials in the form of art.