<i>Statuino:</i>An Undercurrent of Anticlassicism in Italian Baroque Art Theory

Pericolo, Lorenzo

doi:10.1111/1467-8365.12187

Cited by 4 publications

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“…. [It] discloses the inner oscillations and contradictions at the core of the Baroque aesthetics of perfection’ (Pericolo, 2015: 863). The digital achievements of the glitching Vanellope in Wreck-It Ralph operate self-conscious moments of ‘scripted’ illusion, which fall under Klein’s ‘Electronic Baroque’ that encompasses popular VFX technologies.…”

Section: The ‘Disney Baroque’mentioning

confidence: 99%

Walt’s Art History: Late Style, Digital Aesthetics and the ‘Disney Baroque’

Holliday

2023

Animation

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This article examines the critical and cultural framing of the Walt Disney Studio’s cel- and computer-animated feature films according to an enduring art-historical narrative. It traces the critical evolution and historical periodization of Disney animation from the 1930s and 1940s to the post-millennial period, arguing that the studio has often been understood according to ‘early, middle and late’ phases of production that are typically held as both complementary and in tension with each other. Supported by the well-established art-history vernacular that has defined discrete Disney eras, this article then argues for post-2012 Disney Feature Animation as an example of the studio’s ‘late style’ – a later phase not of transgression or alienation, but one that adheres to a more positivist mode that signals pleasurable formal dissidence, confident deformation, and artistic creativity. This article subsequently advances the term ‘Disney Baroque’ to describe such playful transformations of digital aesthetics and effects present across the studio’s nine features released between Wreck-It Ralph (Rich Moore, 2012) and Encanto (Jared Bush and Byron Howard, 2021), its longest run of computer-animated films. By sharpening contemporary Disney’s connections to the ahistorical or atemporal logic of Baroque theatricality, this article identifies how contemporary Disney animation engineers spectacular moments of upheaval that rest on specific Neo-Baroque qualities (concealment, illusionism, representationalism, polycentricism, seriality, the labyrinthine) in ways that further contribute to an understanding of Disney’s own internal history and critical periodicity.

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Section: The ‘Disney Baroque’mentioning

confidence: 99%

Walt’s Art History: Late Style, Digital Aesthetics and the ‘Disney Baroque’

Holliday

2023

Animation

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“…114. 91 Perini Folesani 1981, 227-232;Dempsey 1987, 81-82;Perini Folesani 1989, 210-211;Pericolo 2015. strare l'importanza della copia del modello vivo finanche nella rappresentazione di finte statue marmoree:…”

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ultima opera di Malvasia: 'Il Claustro di S. Michele in Bosco' e la decorazione carraccesca tra finzione e verità

Matarazzo

2021

Acta

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The Carracci's decorative vocabulary (from the early Bolognese friezes to the cycles of the Farnese Gallery in Rome and of the Cloister of San Michele in Bosco in Bologna) made extensive use of anthropomorphic supports, especially telamons and terms. Painted with a monochromatic technique, they deceived the beholder for their effective imitation of marble sculptures that illusively jut from the surface of the wall. While art historical scholarship mainly discussed them in regard to their chronology, attribution, iconography and their relationship with the Cinquecento decoration systems, their early reception still lacks a comprehensive assessment. This essay aims to undertake it through the case study of Il Claustro di S. Michele in Bosco, the last art-historical work by Malvasia. A section of this booklet is dedicated to the chiaroscuro"Termini" flanking the episodes of the life of St. Benedict painted by Ludovico Carracci and his pupils in the cloister of the Bolognese Olivetan monastery. Giacomo Giovannini, the engraver to whom Malvasia commissioned the illustrations included in the volume, also reproduced these painted sculptures in four etchings. By referring to a central couplet from the famous sonnet by Agostino Carracci "in lode di Nicolò Bolognese", he characterized Ludovico's (and Reni's) telamons as Michelangiolesque in their contour and Tizianesque in their naturalezza, as opposed to Annibale's terms frescoed in the Farnese Gallery, whose style Malvasia considered too harsh and dry ("statuino"). In this essay, Malvasia's notes on the cloister's telamons will be compared to his previous critical works and will be contextualized within the seventeenth-century Literature of Art and the coeval reproductive printmaking. As I will demonstrate, Malvasia aimed to restore the central role played by Agostino and Ludovico in the renovation of this decorative style, a role that was obscured by Annibale's growing fame in this genre of painting, particularly driven by the prints after his frescoes in the Farnese Palace published in the second half of the seventeenth century. On cover:ANNIBALE CARRACCI (BOLOGNA 1560 - ROME 1609), An Allegory of Truth and Time c. 1584-1585.Oil on canvas | 130,0 x 169,6 cm. (support, canvas/panel/str external) | RCIN 404770Royal Collection Trust / © Her Majesty Queen Elizabeth II 2021.

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The liver, the heart, and the brain

Pericolo¹

2019

Res: Anthropology and aesthetics

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In the introduction to Leviathan (1651), Thomas Hobbes notes that man succeeds so well in imitating nature that, unknowingly, he is able to "make an artificial animal." "Why may we not say," he wonders, "that all automata (engines that move themselves by springs and wheels as doth a watch) have an artificial life?" Indeed, man's heart is "but a spring," the nerves "so many strings," and the joints "so many wheels giving motion to the whole body." The body politic, Hobbes insists, is also a human creation, a creature: "an artificial man." In keeping with this set of similes, Hobbes defines sovereignty as an "artificial soul. .. giving life and motion to the whole body" and the members of the executive order as "artificial joints" linked to "reward and punishment" as if to "nerves." 1 As construed by Hobbes, the body politic is not immune to pathological dysfunction; in the commonwealth, concord is health, sedition is sickness, and civil war is death. The physician and art theorist Francesco Scannelli (1616-63) 2 is unlikely to have been acquainted with Hobbes's work.

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Statuino:An Undercurrent of Anticlassicism in Italian Baroque Art Theory

Cited by 4 publications

References 4 publications

Walt’s Art History: Late Style, Digital Aesthetics and the ‘Disney Baroque’

Walt’s Art History: Late Style, Digital Aesthetics and the ‘Disney Baroque’

ultima opera di Malvasia: 'Il Claustro di S. Michele in Bosco' e la decorazione carraccesca tra finzione e verità

The liver, the heart, and the brain

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