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Literatûra ir nuorodos
29 B. Berenson. Italian Painters of the Renaissance,
p. 239.
30 Ten pat, p. 237.
31 B. Berenson. Aesthetics and History in the Visual
Arts, 1948, p. 144.
32 Ten pat, p. 144.
33 J. Biaùostocki. Wstæp do wydania polskiego //
M. Levey. Wczesny renesans. Warszawa, PWN,
1972, p. 6–9.
34 E. Panofsky. Renaissance and Renascences in Western
Art. – London, Icon Editions, 1972, p. 113.
35 Ten pat, p. 42.
36 J. Burckhardt. The Civilization of the Renaissance
in Italy. – London, Phaidon, 1965, p. 81.
37 B. Berenson. Italian Painters of the Renaissance,
p. 64.
38 Ten pat, p. 78.
39 Ten pat, p. 79.
40 B. Berenson. Aesthetics and History in the Visual
Arts. 1948, p. 200.
41 Ch. Dempsey. Portraits and Masks in the Art
of Lorenzo de’Medici, Botticelli, and Politian’s
Stanze per la Giosta // Renaissance Quarterly.
1999, t. 52. Nr. 1, p. 21.
42 B. Berenson. Italian Painters of the Renaissance,
p. 325.
43 B. Berenson. The Drawings of Florentine Painters,
1903 // The Bernard Berenson Treasury. New
York, Simon and Schuster, 1962, p. 119.
44 B. Berenson. The Drawings of Florentine Painters,
1903 // The Bernard Berenson Treasury, p. 121–
122.
45 A. Warburg. L’Art du portrait et la bourgeoisie
florentine // A. Warburg. Essais Florentins. – Paris,
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46 S. Freedbergo sistemos trûkumà taikliai nurodë
H. Zerneris (Écrire l’histoire de l’art. Figures d’une
discipline. – Paris, Gallimard, 1997, p. 74) – joje
neliko vietos vienam svarbiausiø to laikotarpio
dailininkø – Correge’ui. Freedbergas já priskiria
„protobarokui“, tvirtindamas, jog Correge’o jo-
LOGOS 34
2003 LIEPA • RUGSËJIS
KULTÛRA
kiu bûdu negalima vadinti baroko dailininku,
taèiau jo kûrybà nagrinëja ne XVI a., o XVII a.,
t. y. vëlesniøjø baroko dailininkø kontekste.
Beje, toks Correge’o matymas, anot H. Zernerio,
virto tradicija. Nûdienos istorikams nesiseka
rasti ðiam tapytojui vietos renesanso tapyboje.
Pats H. Zerneris á Correge’o tapybà siûlo þiûrëti
kaip á klasicizmo pratæsimà, kaip Freedbergas
þvelgia á vëlyvàjá Ticianà, kartais pavadinamà
„impresionistu“.
47 H. Zerner. Écrire l’histoire de l’art. Figures d’une
discipline. – Paris, Gallimard, 1997, p. 79.
48 Plaèiau apie patologinës anatomijos profesoriaus,
tyrinëjusio ir dokumentavusio nervinius
susirgimus, J. M. Charcot átakà A.Warburgo
terminologijai ir pathos formula koncepcijai
þr. S. Schade. Charcot and the Spectacle of the
Hysterical Body // Art History. 1995, t. 17.
Nr. 4, p. 499–517.
49 W. Pater. Essais sur l’art et la Renaissance. – Paris,
Klincksieck, 1985, p. 99.
50 B. Berenson. Italian Painters of the Renaissance,
p. 109.
51 Ten pat, p. 112.
52 Pvz., H. Osthoff. Vom Suppletivwesen der indogermanischen
Sprachen. – Heidelberg, Horning,
1899.
53 A. Warburg. Einleitung zum Mnemosyne-Atlas,
1929 // Mnémosyne (Introduction)// Trafic. 1994.
Nr. 9, p. 39.
54 A. Warburg. Essais florentins. – Paris, Klincksieck,
1990, p. 106.
55 L. B. Alberti. De pictura. – Paris, Macula-Dédale,
1992, p. 187–189.
56 H. Wölfflin. Classic Art. An Introduction to the
Italian Renaissance. – London, Phaidon, 1952,
p. 12.
57 Ten pat, p. 248.
58 Pokalbis su André Chasteliu, þr. Plus de printemps
pour Botticelli // Beaux-Arts Magazine.
1990. Nr. 79, p. 102–111.
195