Stoichita, Victor Ieronim - Instaurarea tabloului

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E atrLurJ rarsoJE e a-rardo.rdr BtEIPatril ttt alsastli es InJoll^Ird

asaclar, la Vermeer, o sciziune :r instangei auctori;rle ero-

topice. Exrsta deci - 9i paradorul este evidenr - ,,doi" autori
exotopici: u.nul care joaci un ro1 in prezentarea inraginii
(,,ridicitorui" perdelei); un irltul cirre transfonni ;cJasri
prezerltarc in ,,picturi". Acegti ,,doi autor-i" au in con-lun
zlaepnttuSllr.r.,cid. iancerixotneerioarz.i,Ufnieuclardeinitnrc felul siu,
asupra repre-
ei (,,omul cu perdeaua")

este doar enxapnuispualsartoizriullarKepurnesztheinsrto;irriisi.cChceslilaMlui s-eu",m_rtodr.irni
tablouiui

Viena - are ceva in cornun cu eroul tabloului siu: ambii sr_rnt

,,Pictori".

,,Manipulatorr.rl"/pictorul-personaj/pictorul-autor for-
rneazi o triadi paradoxali. DacI ne concentrin mai r-nult
asupra Atelierultti, al cirui caracter metaartistic extrer-n de

cornplex este neindoielnic, putem duce inci 5i mai dep,rrre
tematizari. i,r
studiul manierei in carc reprezenrarea este

centrLrl imaginii se gisegte pictorul in fala gevaletului siu.
Pinza sa, irrtiusa pc gasiu, csre rproapc goal;. N u irr in-
rregirne, toru5i. Ea are deja un fond, un prim strat de culoare
neutri, pe care pictorul a trasar conturul modelului gi este in

curs de a aplica primele ru$e de pcrrsula. Numai cornprrand

aceste tu$c cu rnodelul care se afla in fundalul inciperii, r'orrr

recunoa$te primele frunze ale unei cununi de lauri. Asistim
astfel la na$terea unei inagini, surprinsi ?n momenrul siu
inilial: fond pregitit/desenltuqe de iuloare.

s.ituAactei ainsticseunptrruaflarqeipirnezceutrtsS.driei. a fi acoperiti cu semne este
wna
Ea nu-este insi decdt
dintre suprafe gele-imagini ale tabloului. Celelalre, care
dubleazi limirele reprelentirii, sunt: harta geografici (in

arierplan) 9i tapiseria (in primul plan). Ele sunt amindoui,
harta gi tapiseria, nigte suprafeqe saturare de semne, fird, a fj
insi nigte ,,tablouri". Ele sunt, aqadar, nu numai limitele

r-eprezentS,rii, ci 9i nigte reprezentiri in stare de limit5. Ast-
fel, pictura ,,se face" intre extrem ele hdrpii gi ale tapiseriei.

Ea nu este nici una, nici cealalti. Ea este insi tematiiari an-
titetic atit de una, cdr 9i de cealalti.

Trebuie si reamintim aici pe scurt problemele reprezen-

tarii ridicare de aceasr; celebra Irr.ri geografici. in afara

cAmpului siu central, ea rnai congine gi-o Eorduri formati
din ,,ved-eri" de oraqe, raportate in perpesctivi. Proiecliile
cartografici 9i perspectivici sunt asifel juxtapuse. Aceasti
juxtapunere este de asemenea temauzatela nivelul simbolic
prin cele doua personificdri ce flancheaza cartuqul ,,leqcrr-
dei" sale: cea a,,Picturii" gicea a,,Geografiei". Prinra qirie irr
mdni o paleti 9i niqte pensule 9i deruleazi pergamenrul unei

vederi citadine.

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anecdota antici privind cor-npetilirr dintre Zeuxis gi Parrha-

sios105, in cursul cireia cel clin unn:i a oferit un tablou care
reprezenta doar o perdea (lintetnn). El 1-a inqelat in acest

mod pe marele Zeuxis, care a cerr.rt si se ridice perdeaua

pentru a putea vedea in sfirgit tabloul. La Samuel vari

Hoogstrater-r (1678), citin-r, in chip de comentariu la aceirsti

anecdoti, ,,ci nu se poate, aqadar, dobAndi gloria pictAnd
perdele (behangsels) 9i tapiserii (tapijten) clupi cum se splrne

ci a fost cazul lui Parrhasios"1c6. Tapiseria ca ,,dub1u" al

,,tabloului", ca ,,sinulacru" al acestuia c{in urmi, era deci un
fapt recunoscut qi care putea fi recunoscut.

A spune cu precizie ce intra in intenliile lui Vermeer, din
tot acest context rnetaforic din jurul notivului tapiseriei in

secolul ai XVII-lea, este un lucru aproape in-iposibil. Diir

dovada ftirnizati de ima*gticnrenavtiazefai,zipt entrLr moment, sufi-
cienti. intr-ur-r tablou ce ,,arta picturii", Ver-

n-ieer situeazi in primul plan o tapiseric qi, in arierplan, c'r

harti geograficI Tapiseria deschrde/acoperi reprezentarea;

ea ,,atinge" cu Llna din rnarginile sale harta, carc, la rindul

siu, este ,,atinsi" de pi.nza pictorului. Tapiseria ne arati re-
versul siu gi, prin infigurare, aversul sir-r. Ea acoperi o parte

a ,,picturii" Ei ii descoperl o alta. Ea este, ca qi harta, o mare
piesi de bravuri picturali: reprezentard o ,,alti" tehnici a
reprezentl.rii, ea este tradusi in picturi prin picturi gi pen-

tru picturil0/. Cdt despre ,,pictura" veermeriani, ea este ca-

pabili si inglobeze reprezentarea actului pictural qi a li-

mitelor sale metaforice, harta qi tapiseria. Daci ea poate si o

facl, este pentru ci tabloul in ansamblul siu e structLlrat

pornind de la un cod de reprezentare superior atat car-

tografiei, cit gi artei tresitorului: acest cod este perspectiva.
Existi alte doui suprafeqe pe care de-abia le-an-r mengio-

nat pAni aici, incluse, 9i ele, in scenariul genezei imaginii.
Ele ii marcl-reazi, ca si zicem aqa, ceaLaLtd limiti, o limiti de

asti dati genetici gi nu metaforici. Ele sunt pinza pregititi,
dar (aproape) goali 5i peretele zugrivit. Aceste doui
suprafetre dialogheazi. Dialogul lor este profund gi priveqte,

din nou, toat6, reprezentarea: ,,fundalul" tabloului lui Ver-
rreer este dublat/reprezentat de peretele viruit. Dincolo cle

harti, la limita extrerni a accstei rcprezent;ri punind in joc

pictura, cartografia gi qesitura, la linita insiqi a reprezen-

t'abilulu.i se gisegte peretele alb.

Adeviratul lnare contrast ce structureazi toati imaginea

lui Vermeer va fi atunci cel dintre lin-rita extremi finali a

irlaginii (peretele) qi limita sa extrerni iniqiali (perdeaua-

tapiserie). Doui scaur-re, unul pus in r-ritimul plan, celilalt in

prirnul plan, contribuie la marcarea acestui interval funda-

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IX. Tabloul intors

Tematizarea scenariului de productrie marcheazi in-
deplinirea eforturilor autoreflexive ale pictr-rrii. Re;,r1iz;rrea
conqtiingei de sine a imaginii aduce cu o nlare avcutur;i ,r1
cirei traiect, nultiform si intortochcat, se confunc'li, in
ultrmi instangi, cu insiqi gerle za t:rbloului ca obiect gi cu cca
a ,,artei", in sensul rlodern al terrr-rcnului.

Problema raportului dintre ,,arti" 9i ,,tablou", agrl culn e
incercat si o trateze acest studiu, apare in afara diviziunilor

cronologice qi stilistice traditrionale. Schernele evolutive -
precur-n,,Renaqterea-Manierismul-Barocul" - au, desigur,

meritele ior, intre care primul este conroditatea. Dar ele tru

ne sullt din picate foarte utile atunci cAnd trebuie si

decelim efortul depus de in-ragine pelltru a se inleleee gi a se
defini ea insigi.

Nu este o intimplare daca n-raterialul tratat ill mod prc-
dominant in prezenta lucrare provine din zonc gcografice

numite ,,perifericc", adici !5ri1e de Jos 9i Spania. Tocr-nai
aici, oarecun-r iz-olati atit de ,,marca cale" a artei italienc, cit
9i de intreprinderiic teoretice ambitrioase ce o insoqesc, se
desfigoari rleditatria asupra artei, in prirnul r6nd, pe planul
netapictural. Problemele ridicate de aceasti meditalie sult
triite 9i indurate de imagine in propriu-i trup: dedublare si
opozilie, revers gi avers, saturatie gi negatie, ciutarea linri-
telor s;rle interne qi a frontierei estetice, ciutarea propri-
ilor s:r1e posibilitili comunicative , a captivirii privitorului 9r
a urmelor autorului. Aceasta uu e decAt o listi, incompleti
desigur, a elerneutelor pe care 1e implici angrenajul neta-

art1st1c.

Existi, in toati aceasti migcare ucitrcetati, doninati cie

efortul de a clefini qi a ingelege in-iagiuea, o teusiutrc pcrsis-
tente, o pLlnere irr disculie a irrrag,irrii ca Jtatc, cc rttillgc trlte-
ori stiri-lrnriti.

Pe un plan exterior, dar adiacent proceslriui de genezi al
,,artei moderne", problema imaginilor, aqa cum L1 abordat-o
Refonna, $i fenomeneie iconoclaste ce o insolesc, joaci un

rol important. Dar existS, diucolo de conflictele evidente

dintre problematicile teologici 9i artistici, o reusiltnc intrin-

306

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'o-rr-Hu,TJrStiunrI[nrrto.,rrIltlrqo,rLrI(lrg';lnlnI!st'tliTunsl,oro'9rttrrZJrrIPza.-a1rcHrJ) a.t.tl.ltrrrirs(rigr1rf,.rrt--ricngJ])srre,di.LlrJ9J,ilirlruo1iL1fri,r)lri;ut),.rrrSl.ri.-trIrclJr
'fJ-r;rJilfrrr rltzrqrodJrrd:lfr,t'_,lur,Lrr.Lpr"if"rurrps1ro:1'll.t,lzr:Itsr^-r-l1iIl-ni.trr,l'J,.i1litrl.unsltr,rnl.tii,-:rm,rr.-.jutr,-llI

rS rlus rJ-rJi,rr:r p, 1t.r1, jr,
lsJJt J-rEf .tcl s-rnrsrp 'rs

r-rc{nr^r e,rrrJ:l,iar o--lrrrr s-racJo nrp,iFrlrri ir rrrrll rrr.rrp urJdrlr

acI sarajur usur rr'Jl5r.Jrl'l"orroE-crr{tlrrin,nrou:uls"rr,rrorpn_at"ldljl.l.,tJ-yrpr-IltU11.tr1zr:,r!i;,tli-grtI'pL1:iiia;,L-r,r-it"r,rit-t;rl"cs,iro-rrro.s1rrt1li1ri
f o] Iltul-rrr^apv

-JJ i.soJ t: rrrr

-oSrcla iS -to1t-tr.t1t1tLUI lll-ltLrrnu J-lJpJr\ 11 pr.i1\lr - rrs llJqtJ.r,\
LII II-nrr1r('l r.+ f,\ Js J.nrf Jp niHrtsa-rc{ rninlrqrrlsJtuo:rur pplrrl
uJ ',,J]-rf our r,urlrrr" Jlrol (r-tnolqrt Jp r:l-tzt-llrrf ,iilrnrrro.idr:
tlrls,rpfirTurr-,1fa.'s,-Tir:,);,\lrrrrv,iOrrrpri-,\lo) ir:,rrd,ri,,i,trn,rrr,rqt,,,1
rjcrunrr J.rr:l x-1p6ie o
rrr rodl 'rrrLrrnl,rJ3 ur

i li3 f; -)( 3 7 9 1 g d n p - 0 t 9 r"r r! r ) )^l Ll'-r r-r q 5^
s^i-r i-T r q-r o s n I r u-i o
T

q^rrla"r,/n()JqDJ' I

ll-rrrlsLlor rc),\ ri LrrJ.IlxJ 'pir:1 ap lt.tr,llltl "1lltIU1oJturefriu:.1r nlrrL"rrdL0tr-lllcltl

LrJuroLrJJ r1-rlsJrV
t i hla-rrlclrlr :rt rro u ral-r.t u-r cJn sr: ru r prrr;- l a-r rS rin Dzr)rlf -rrru
Jrlrl rLrE'ral-IL\X IE tnlltloJas rrr 0l lluu rrr rur:d olSrHrir-r1
-a,rd ls arrado-inr rr-rnlrrd E rrrlsrls^-rurlJLLr rpr"rr1.1.-r"l r..r,ruJ{

'rezurcJ r a-rnd rrlptrlrrr_rrlrur r_irin:^e ,(tpul_rc1
-uraU rs^) zrnbzi:1a11 iqp alaraiec{'",-ro1 rnpr,rrtr,Errr'l:c1rrsri

tS tilelrrJza-rcla-r "roiaio.lt-rdns r,rdns^r rrzirJrrp;Llr (rulp;-irrtr:q

tltt is:) tJIJ11 Ltrp.reJLLr-rJA Lln ir-raFn-rtsrp _ro1 iai,rc{o-rrl

Inr-rruJrs Jut/qr-ua und - Jlc,rntus^ J.txJl.rJtLri - ,,i-rolrurrr J1)
aolalrlrolcrlrurqrrrra"pl:nrnrrt.rlrtcu{rrr-rrunrfr3oefir,rEop,,oJu,rrrItrr,slnrlsnr,lil.t.oo]qnrlufsJ,-,ra)ts-r^rrrcLlrnt:aJIpr.s.

allrurzrnt+o-rcl rsasrri rnp JUri arpl ,inrrlirrut rllllttlrr^rr-n ltr-rJ:^

brechts a clqtigat in con-rplexitate. Craniul beneficiirzi de o '.- r. (

abilS punere iu sceni, care apeieazi la sirnbolismul, dejrr :i.t::

cristalizat, al panitas-ului. El este flancat de o luninare r:::.1r.,

stinsi qi de o clepsidri al cirei nisip s-a scurs. O pipi, nigte -: :;pe:
.-.5 r i:
tuturl, un Fnur de iasci sunt vizibile la stinga; o scoici, o
mici cupi cu api gi sipun qi un pai, la dreapta. Doui ::.reti.,..
.: l\'.1: i.

baloane de slpun piutesc in spagiul nigei; o cununi de spice

uscate se formeazi in jurul craniului, al cirui n-raxilar lipsit

de dinli se giseqte pe o mici vioari care, la r'indul siu, se
sprijini pe o fili de pergarr-rent cu scriitttri greu descifrabili,
&t .n.e serveste drept suport set-uuiturii pictorulut. Totul

e ste redat cll mare griji 9i utlltzeazi efecte rlr"rzioniste pe care

genul le consacrase deja: bigicile de sipun qi sfeqnicul lr"rs-
truit sunt nigte suprafele refle ctante, iar mrca vioari 5i

p' ergamentul depigesc pragul de marmuri al niqci. tablou

Trompr-l'oeil-ul gi'uanitas-vl se reuuesc intr-un

care se joaci pe doui planuri diferite - ce1 al ,,formei" qi ccl
al ,,contintttului" - cu ideile de ,,aparengi" qi,.'e1e ,,iluzie".

Ninic nu lasi totugi si se presupuui, pentrd motnent cel
pugin, ci opera lui Gijsbrechts iniplici 9r o n-reditalie asupra

reprezentdtii picturale. Tabloul ternattzeazi, este adevirat,

imaginea ca ,,decupaj al realitigii" (marginile tabloului coin-
cid cu cele ale nilei) qi reia, la citeva decenii distanli, una
dintre problemele cele mai arzdtoare pe care noua picturi

le-a cunoscut in epoca nagterii sale: cu un secol mai de-

vreme, ,,tabloui" lui Gijsbrechts ar fi fost ,,reversul uuui

tablou". Maniera in care pictorul a reluat aceasti tradilie - 5i
motivele acestei reluiri - nu reies in n-rod evider-rt decit prin
comparagia cu o alti operi (nedatati) a aceluiaqi autor'

DacI privim atent, a$adar,ltlatura moartd pistrati astizi
la nruzeul din Boston 6. I27), remarcim imediat - 9i in
ciuda aseminirilor evidente cu tabloul din 1669 (lI. 126) -
rrarea sa lloutate: aici este vorba de reprezcntarea ttnci pic-

turi. IJnu| dintre colqurile pS.nzei s-a desprins de 5asiu,

dezviluindu-1. Vedem rici ,,replezerttarea in trompe-l'oeil a

unei picturiin trompe-l'oeil". Nu este numai o dedublare a
artificiului iluzionist pe care Gijsbrechts a vrllt si o opereze

aici, ci si (qi la acelaqi nivel de irnportanl5) o dedublare a
mcditaliei asupra degerticiunii lucrurilor. Ace:rsti idee nu

mai aparline de acum ir-rainte nivelului obiectelor prezente
irr nigi, ci a invadat pictura ca atare. Collul de pinzi care

atirni lasi si i se vadi reversul gi descoperi sasiul tabiouiui.

Ceea ce vedem nu este decit o phnzd, cu imaginea aversuiui

siu, cu textura p6,nzei si cadrul sasiului pe revers' Pi'nza

308

60s

'(SZt 'tt) ts ea-rts-rt.teseP pzeeqlJeut 'utptuaza;dar tapotau
I? erapa^ ap lnround urp 'a-re: 'srqca,rqsfrg rn1 r grado prp o

ap ea;ardo;de uud rrorldxa reru rS ?Jur aurlap (esaru lsaov

'rnpdrurt E ElnJnJtsap eaunrlcr

nc arlrnoa ur snd etse rnlnJolcrd lnrp,re t7 'ntatat-sap

Ie uuras rrn elsa rczued eeJeueJlsap 'utant 1e luaurnJtsur un

atsa euruI llurfuds ap elaqSeq :EJnatnut eraruetu o-Jlrrr JBp

'e,r.cr1ar-lnolqrt nJ pzuaq?oyrp Etse3V'An€louapotne uures

ealrop IE un Er'o1ocu',,alSeln1d" EE'rnlnolqet p tdarp Inilol
rrr ,,el?]rn" 'eueru lrur(r.rds ap eraq8eq tutd pteznerual atsa

- -nrl€A€Jl rnlsaf,E ELUJn nes eluaza;.I 'arlncsrp ur rcle snd
alsa - ie-raua8 ur - rnlnJotcrd 1nr1e,te-ll 'repesy
'F^crler o efap atsa
rda,rp ror-ladns 1n"l,1Eo.r3nJ'Ecrrdu"?rlsap es E ap apc ad atsa ptrf,nspr

'ptr,rr.rtl

atiralo:) 'alarlE
'ut: E'1r9 x E'79

'uzrn:d ad raln

'6991'svt!uuA
'strlca-rq sfr.)

slujrqioN
srlrlJu.ro-) 9zl

i17. ( ,
\orbr:
(!ijsbr.

-t't171t1,i:

riei pt.
l-1,5 x -

llos to r:.
\ luscu r-
,\rts.

Acest tablou, pistrat astdzi la Muzeul de Stat din Copen- 128. Cor;'
lraga, reprezinti un coll de atelier. Nu vedem decit o pi,nzi Norberru
agtrtatl. pe un perete de scAnduri. $asiul este vizibil. Vederr
de asemenea sforicelele care intind pdnza pe gasiu gi instru- Gijsbrecl-.
mentele pictorului (paleta, bagheti de sprijnit mina, pen-
sule) prezente in primul plan 9i in relief. Dintre toate aceste ColS tlc ;:
instrumente, acela care avanse azi cel mai mult citre privitor
este paleta. Agigati in deschiderea irnaginii, insoqiti de un ,,Vanitas'
mic portret oval (un autoportret, probabil), ea formeazi cu Lrlei pc pi:
pi,nza de pe qasiu un fel de balangi cu platouri inegale. I52 x I lS
Funcqia de ,,tiji a balangei", asumati de bagheta de sprijinit (looenh,rq
mina, subliniazi aceastA irnpresie,
Muzcul ti,
Motivul paletei este purtitorul unei istorii pe care nu o
pot expune aici. M-am oprit deja asupra ei, foarte pe scurt:

310

II'

'1vrq rl lneznl.

'r:-rr1u.tc{o

'ur:r SJI \ ac

'tzrrt:d atl r11'
'3())I

us ntla"l,rsDatp!urIT|cAt

'stLllrr qsh,

s^nt-IJq-lo_\

snrlJU.lo') ll;'

Jleluallrnltsrrr Jp ltcinluolri 'tzued f]seetv 'JLLrE,rtsJp JS
rtsnlaudoarcrrrrrdvzlnuluridncap'rurnllrsrnrcnrr:udrInuJroalluu8ra-lrrtrurlnl'nsisJeleSllrsurrratcdl'ra.pBrr-rnatcssa
cs r ep ap:c ad trrns rraird ed ap a1i-roprr'(gZI .1r) r8equedo3 ,
pl Jp Jno[qr] uI'rrr-rllllriuras 1nl-rodns rS atsc etapd,(OEt .lt)
Inra,rrrd r-rrr alur a,rado ales alaruud urp Eun-,Ttrrr Jlareoap :!-

!

'jrrur,rodurr Io-r Lrn ,rr-rSrsap lupzru"aonir8"r,ui:luo.t1sJ."!,qrqr.iur?CalE-ITIAX
'aJnL( ut Inolqet 'at1ua1od

1rnu tInnllnElorlrleprslr rE lluu a,rdsap rrrolrr,rls nrrtrnds ',,-rct1r-ro1nl ;o,r 'Sl-11
atse rnlnrotrrd 'le,rnlrrcl Intle^E-lt ?zrlog
rtap4" .)LI l:l l() rllll.ls^lli
'Llols(lI
-Ltrrs BO '(i,t t Il) snrpuoH rn1 r;n.te,r8 ur lrrur8erur razaua8
*lnxra-rrr.urrelrsJ'r(r6r 1,,'iI-r'vyt.)lruza" ntcbtzrnllc{1nloll,trl EJ;\r rS rnlnlolt,rr-rd rreqirl '.LU.) 6l \ ELf
alautucW rrr irap:,r.aS cd ap 'rrur.t1 rJ r,l

razrrud apunclsa,rctr rJ (iOI '1r) rrru,r-rr:3 rnl inlaiucldolnu rrr i',.
).1 J7 L{

lI's11.r.r-rc1s
sllll)(liO\

snrl)Ll.l(). ) /;

pictorului, estc rezultatr-rl ;rctir,iti!ii pe care ;lceste lllstrLl-
n].nte o tematizeazit, dar este, iu acelagi timp, ro:rsi c1c ger-

menii distrr.rgerii.

Nu se poate inlelege iutr-adevir semnificaqia operei lui

Gijsbrechts firi a o intesr;r in tr-adiqia din care provine4.

Aceasti tradilie este reprezentati, pe de o parte, de gindirea

metapicturali qi, pe dl alti partc, de tehnica par,rdoxului,

coc{ilicati de poetici qi retoricii. Aceste doui aspccte sunt' i1l

epoca ce ne intereseazi, atit de itnpletite, iucit uneori sc

clovedeqte dificiln distingcrea lor.

2.Paradoxuri

, ,,Paradoxurile sunt setttillle impotriva opiniei conlLlne ",

spune titlul unui opuscul auouitt-t publicat 1a P:rris in 1553.
Para-doxa i se oputt |ut doxa. Ele gochcazi' ofenseazi
bunui-sim1. Paradoxul e ste, aqadar, o che stiuue de re -
ceptare. Aristotei atrigea cleja atcntia asuprrl .lcestui flpt'

inir-un pasaj din Poetica'. sentimentele provocate de trage -
die, spune el, sunt cu :rtit mai puternice cind apar in.conflict
pcoemauundi itQotrarsaatue,nindoxgaenn)es.raPl'arpaedorxeucleipl tsoor,liciuittir-poe
cu ofinia
privitor,

manieri mai puternici decit norllla. Orice parador este o
chestiune de iecbnd6. El i1 determini pe reccPtor sj verifice

validitatea aserliunii qi si demonteze mecanismul care a

ficut-o posibili.

Atunci cind terna discursului este arta insiSi, paradoxul
este dublu implicat. Receptarea discursului se manifesti, in
primul rind, iub formi interogativi' Acest tip de problemi

r fort deja ridicat in cursul studiului de fali: curn poate
reptezenta un tablou subiectul reversului siu? Cum poate o

imagine pictati si fie ,,catalogul" propriului siu conginut?

Cu- poite un tablou si reprezintc un alt tablou? Cun-r
po"t. irtotul unei opere si fie repre zert^t de (in) opera

insiqi? etc.

in grupul de imagini pe care tocmai le-atl anaLzat (il'

126- f. iB),^ paradoxul iemitiz eazi chiar tehni ca p aradoxului. 129..f..r

Aven-i de-l face cu tablouri in trompe-l'oeil care se propun deIr\
ca niqte realitili fictive. Aceste tablouri se dezviluie ca nefi-
ind decit ,,materie" (p|'rLzi, qasiu, culori etc.), dar aceasti Coly ti:

dezviluire este in ."ilit"te o minciuni: dezviluirea este ,,VdnLl
ulci pe
,,I'eprezentata" de urr tablou.
l1li,/ r
ir-r op..t unui imitator al lr'ri Gijsbrechts, Jean-Frangois l)ijon.
de Le Motte (lL 1'29)7, producgia 9i receptare a ',ficliunii" Music

Bcilux-

', lz

ert

's^:11V-xntJlj

s)P JisnJ\
'nof 111

'rur g'C6 x l'Si I
'gzutd rd ralr
' ,,sullul1 A'

nt,tetltu tp l1o;1

'{Jlloli\i ll Jf

sro)urr,1 ural 611

'rr-rntlrd rJullrlEt,reSep ap Egur,\lrol JS rs JrnqJ-rt rsnsur

]nz9A 'rnlnzE^ !z?JSe.rPE as ,,JtttrlEa-r" rs ,,f-rnlfrd" a-nur
tfrrldlrrof Jof tsJlr lo',,tr-ErnltrInrdr"draltsreJrap.lrrrrf,rrtdzrnJl.rIpJp?lrnertrasuJurdr
ad ritip8e
rrJEIJrlrO

ll ll-rnlrLrLLras o 'B,rr-rlodoap 'rl '(rlp o rtsrxJ r?LU 'plrl-rod
-u,r rznrd ad '.rr,lapu--rtrrg 'rS) ,,nolqrrt" Jp p-rntlrrurJS o rrop e
nu EA '-rotnt ed uz.Bez.nvtLral 1r rS le lnlqrursur ur ,,taunrllr;"
TZr.JZr^ ,,prJlud ad untrriurJs" EtsrJrE -rrq 'r8-rnos es ES
r:lr8 clt,rolnf nJ rlalsarlrtr es al 'rnluolctcl p-tnlELtLLras pl,rrod

r:E 'rre1d ynurud ur - strlloJgsltC r:l e : - csrrrdurr rlsa 'rtrr8rurr
ap ,,rcrbnpo-rd" ir: tlJrqo 'eta1r:4 'u-rrlorlJo rS rrayrd :1oq

-LLus Jp o-molE,\ nr atfJrc'lo rnop E rlBrrLrr-rEo-rcl rrlr-rrdr rrr,rd

'irrrr,r lnrur-rd rrr 'rtsalrueru as BtsEatrV 'arirnra rrr esnd trrns

#,-&wYF--ffi,-tf' w"kk*i-:j,:Jl'{ ', , L..{ .\
,s{*r. :il
:Si:l

dqel

qg3*flhlrl ;

, ,i. fi...*{*.

-,

**d 1*agqdfl'
,I I
't, i,ri irl
le I

A':

Accst llprt sc sitr.rc;.lzi in preluneirce Llnei rrrrclitii carc

cunoscLrse, in secolul el XVI-lca de irt, explcsiile sale litcrirre
ccle nriri nr:lrc;1nte. Dcspre Delcrtticiunca $tiingclor ;i
Artalor era titlul unei cir-tulii publicare in 1530 dc Cornelius

Agrippa clc Nettcshe inr - un angreli:rj c'lc par,rcloxuri, pclltrll
ci ir-rce rc;r s:i clertrt,trstl'cze, prirr rr-t' scriitur-i e rlrditi,
zidinricia cunoit$tcrii gi nerrntul litcre lors. Cirrtulia lni

Agrippa nlr estc decit pr-im:r dinrr-o scric de lucriri cu

acclaqi subicct. C) scriere rrnoninrii ir-rtitr,rl:rti Parttloxc cctrr

trc le s lettrcs, rrp:irut:i in 15,{5 l;r L-von, iqi propunc ,,si
dcmonstrezc cll:lrgllnrentc'iscusite Si natur:rle, ci [...] nlr
cxisti t.tlartritrtc rlli r)relr' prilrtl'c rrrrrrit,,r'i c.r st iirrl.r r r'.'trrr.'i

:.llte..." O ilserrcrle:r rrmbigie - scricrel () spLllte in ntocl de
schis - nll cste prosibili decit cu ajutorr.rl Luror ,,:rrgllnlentc

iscnsitc", aciicii paradoxlrri. Dar pcntru ci el cste () repLlllerc

in discr-rtie rr ,,artei", pelrtrlr cli nu rrre rirtillne cle:r fi in,rfar',r 1 l i. (-r'rnclius
alrtitezei pe carc o provo;rc:i receptrtrulr-ti, p:rradoxnl este , in Norllcrtus
stne, rtimic'). Ajuns la apogcr"rl siu, :urgrcnajul per;rc'iox,r1 sc (iijsbrcchts,

bloclre,rzi: a discutrr clespre ztimic, inscrrr-r-rni :r ilccept!1 ci l,i!,lou irtior:,
nitnicu/ estc ca.L)a. Astfel se lt;tgte sutpe.r-p,rrrrdoxlrl, cvasi- citrc 1670 l6Z5
obsesirr seccrlnlui :r1 XVII-lea De nibilo. ulci pc p1117i,
6(rrS6,5cnt,

Ciopc rtlrlq.r,

\lLrzeul clc Stat.

3 I'l

9It

i....i:

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{

tmiif, i ii.

f$ I

x Ii

r
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']nolqrr pur:;or*t rr,radorsap

r; areod al - Erep ErsE ep pai - s-Ia^Jr tlE un FtsIXE 'antHrrut
elrJ nolqut Jp srJ^er lsJlv 's-IeAaJ nps lnr.rdo"rd ',,sJo,taJ"
rrn (,,orrr8cLLrr o" czuaalr lnlauad Iallqo Jp aplln uiule,rdns
ad) rnlnolqEt ,,p1s-rJAt:" ad pzpaiud 1E 'rn1nc]lqnd - tESreA
-ur - I-nprirundxa nolqrt ln1 rzrJS,rJ.\uI llu strif,arqsflC
',\nEFeu nts lnr:do;d e$a rtltiuaza.r.dat
rJtsJrr Ir1u-uofl,razrqpostvtpr) JlsJ Inolqrt
1r (rSr: 'atvtuaza,tdat :!zltJLIf,-rErLI
[r ttcode p
8o1rda IJ"I!r rS ngs in1

-nJorlll r: aF-rntordrraur rr.rrprrrB In-rpuJ ur glrqrErlattrr rrrldrp
ad rsrrr JtsJ l-J 'arrrEtrtrr cr rS toarqo El Iltlnolqut t.tdust

oturua-rtxJ rrru arirtrparu o rttt8rutr eatnd ;u-s na"r8 n3
's,rotLIr nolqrl InLIn tJEJts LII ',,IILuILI" glrttzalda,r nu

IE (It1 'p) uSrrprado3 urp i'nNezfn6rpr:1ralorSlqaustt8llans a-rrc'979i 'rrlHunlrurLr:
ixrctrp 'srrlca,rqslrg
rrr.rd ap ctsr ofqry -r plrtrrSsrtr:
Jrllsr-rJ.\i
,O rnlnxopr-rrd e a1e;nr:rd n-rttneza,tda.r 1nur1d ld qrrrrr.rod
-rlrr rELrr rel Eelrlrrsnr-rrda-r 'lolrderqns InrsalB Inllll lrlnLU 'UJrltru n l
-n;durr rLrE J,rEl 11 ep 'e-rredsJlerls rnl ErpaLUOt atsr rrlucstp
'Lutr 9l I x lr
rJlsJl? u qlur:l,rodrur mlLI llJr r,Ir-IatII Ea-IEtsa+Iu?Lu rfrCl
'rzt-rtd ad r..
,,Jrruru nrlrracl louro8z llnt{"'t. 'nllrlap'-c12772;'

rs-lrl-rJr(lsi il

slll-1')(l-l(l

s^llllJrl,lo') a.

Este de rrltfel jocul pe care pictorul i-l propune privi-
torului. Tabloul ar fi tr-ebuit sa fie ,,expus" prin simulare:

a$ezat direct pe podea, firi rami, ei ar fi tre br-rit si inqele.

Vizitatorul care se apropie de ei trebuie si resirnti dorinla
de a-l intoa.ce pentru a vedea ce reprezintd tablotrl. Ficind

aceasta, el nu gisegte decit reversul - real - al unui tablou'

El inlelege atunci ci ceea ce a vizttt nll era decit ,,repre-

zentarea" a ceea ce poate vedea gi atinge acum in rcalitate.
Revenit la tablou, dupi acest rroment de zS.piceali si de
perplexitate, el se va apropia din nou de acesta ca de o
,,reprezentare" . El;lle acun-i ci are de-a face cu o ,,itlirgine".
Dar ace asti imagine e ste..."nimic".

Nu inseamni ci pe p6,nzi n-ar fi ,,uimic". Dirnpotrivi.

Acest tablou nL1 e o paizein stare de ,,pre-tab1ou". Nu este

o pitz1 care a$teapti si se picteze pe ea ,,ceva" . Pe pinzi

existi o ,,reprezentare", exist;i o ,,ir-nagine". Subiectul aces-
tui tablou este tabloul ca obiect.

Ceea ce vede privitorul este o picturi. Aceasti picturi
repreziriti o pinzA 9i un qasiu. Se vid cuiele care 1e iixeazl'
intre ele. Se vede umbra acestor cuie pe gasiu, umbra gasiu-
1ui pe pinzra, irnbrnirile lennului, textura pinzei. Aceasti
inragine reprezitS. tot ceea ce estc tabioul: pi'nzd. qi lemn.
Aceasti imagine este nimic ai ror deopotrivi. Ea nu este
nimic pentru ci di na$tere intrebirii ,,lJnde este imaginea?"
E,a este totul, pentru ci se autoconline in totalitatea sa.

Trebuie si ne punem intrebiri in privinqa cifrei ,,36", siu-
gurul senrn inscris (in trompe-l'oeil) pe acest pseudo-verso

de tablou. Numirul sugereazi ci pinza ficea parte dintr-o
serie de obiecte asemiuitoare (alte pdnze aparlinand

aceleia$i ,,colecqii") dintre care ar fi fost al ,,treizect gi qase-

lea

Existi o anume simetrie in numirul ,,36" , o anurle aluzie

la inversare sau dedublare, dar trebuie si ne ferim si

mergem prea departe cu speculagiile. Singurul lucru sigur pe

care:l putem spune aici este urmitorul: in ordinea unei
colectrii (in acel ,,kata-logos" al unui sistem de imagini),

nurndrul acestui tabiou poate fi intr-adevir ,,36" (ceea ce ar
demonstra ci este un tablou ,,oarecare", un elemeut dintr-o
serie). in ordinea istoriei artei, numirul pe care acest tablou
ar fi trebuit si-l poarte nu este ,,36" , c7 ,,0" .

Aga cum Brian Rotmanll ne-a reamintit recent, ins;$i
forma semnului ,,0" (contur vid, nimic incercuit) este apt;
si semr-rifice absentra. ,,0" are o ,,fortni fizicl" qi o prezenli
grafici proprie. El nu este ,,nimic", dar semnifici r-rin-ric(ul).

316

nt

111 trrns alrs e[rrr:irJo -rEp (Eal-IIAX Ir 'rrlf a^ rELrr t]nLLr
Inlo]as rrr EUBd Bnrrrl
-uor rs rS ua1-1r1y ]p Illlooas Lrr uzeJtnqep EtsJlV 'ar,,rnlt-rJ
--raurrrrrrrJl1snel8sopilatu" uraurrsrrn8ae;inntr6ssllnroarSo(rdarr:,reu1r 'rrietrparu retsrre tlrJ-r
,,E,rnErj" r:r) xopr.rrd

e3rJO llJ Inpurg 'Xlurluase 'srqra-rqs(r9 rnl Inzul Lrr 'Esrrr
oIsJ -rolr,rr-I-r JnI r rrrnrcrt,reSap r.rdnsr: rar1uI rparu ea-rrualSo14

'rnlntxat,rJl

-Lrr ,,te,rJrJLI:xrr rrr" nEs ,,pe-rJprqlsJp ur" psnd alse glrs-rJAUi
uzrrud o ;^rtlrfrJrrrLtras urind ruLLi rllr ,rrp 'tsalnrrnr rrrind rrur

tsrJtuoo mun lsru;o+ qns rlrtuJza,rd alsa pluJod-rolrr rJtel
'(eg'n'y)
-t.tnu8arr '(eS '1r; r-rl-rzer alp rrl ua * r:fap ,,auuqu ua asnu"
o--rtrrr.rd ela rrr lllrraza;d
r-roarrri. ]nzEA LrrE urnl rSe

--rE-rrLoIyf r(nr-rr8JtnrurrrLrtra-lrrall?8no--n-srlrtgrr ',,r-rotprlrv Jp aia]JlrJqtrC" LnEl Jp
'lrzrleural lso+ ll lst:-tlrroo lsJtV

',,3rLLrru" elrrrza,rda; nrr aJul no]qEr rrn rS rtrr8rurr ap Lualsrs

rrn ulurza-rde-r J-rEf nolqut un eJtln puglsrxa t:ao]r? lrfJp J-rfur
ruur pluelsrp o uur8rrur etcod as nN 'arz-rEt rs Brado Jp ttrlsel

-v suaua8 7r'l-r Inrusllllono:l rS rnpuotcrd E ?luttsJto-rd uannrs
-aJLroJ e-repe^ LrJ puu^ll 'eJrlatrlrrr lglep ISrrJ ry rntnd r1 ,rc
naulel,o,Il-lrlolrlolrJlrr'v!lsa,prrJlotleL]rarnurrrqrEoJ('(eLrUros-r-Aratalrrlvr
rrrp rr-ic'ltcrd nJ alps

EI 'EJAI3 ?t rS ronl
rnlntuuJs rpilllC rrrp auud EmpJ Ir'6E91 uI uc anS aS'retsnrr
r-LrnUrLsrEqLnriEs-rSsorlatrnrur-vrnerr18srulrrlcraa,r1qr-srlnlgr'nedlrnartclrr8rrraruuanlrarlr,rirtar-aurl(?]9rep[p'irrel)lLurrnv8]i1,1gu
u-ulolq8atplr"nItarsrrcrrnlrrrgi1rr-s-rrr.ro3do51ruou,'ru,dragJuueml[rrlleCslrul'so,JarqepB^'utavuc1ulrlol rsoSap-pa,r,;rrer-:cr8oAetcru]uorrLt-LJr p1rurJn-rIenetttrJsruad
sJotrrr rnll-lolc'llrl Ealrtrlrt?3eN 't?znrrLrat Arlr?3Jrr EJ l.llusJe^rrr

uralurn8ouluqrur ta-ar-drsdespop'rrIlnrrsS;nrlrf,rsr r1pr l-rodns E] nolqrl a-rdsap 't:arqo
trrldrur plrr-rotJn? rrxal+oJotnr

z'(esJtBt IJIt,)rJ'ztJxIbdzvu1na1r-1Irn'l1ual1pEaS:c(g-rfdf 'tt) tpLrE-rqLUaU rm'(691 '1r)
lnlotrdrr ur 3-rr:1 ad o-trtr,rl
LLrE c-rlll ad 'rrur8utrr r-rdnst nlllrlrlll-n E tuafs nr t:a.ranrtd

rrr alrqrlJrop luns alg 'elES olJtuJpef,etul 1a rS J-m otuS-ro^
J-.tspusr(irrSprqfa,rtzo'-rn9qJrrZdrrIiIfrna'lr^lpltrortrnosrIlwold1lr-usu'sprti2TnpJtlutunuan;uoo;aorr:u,rrr,JrrddgutErtErp-ertJyzura,a,l;rtdzrsJaJgllrts.d;JI?ane;t.,trt:pu:tur)a:JxitlrpuoevrrcuErlr8tl,sararo:J-,rdRrarr"8"E,ngrnlsr

IE Iar ap proads ponr rrr rs '.ro1r-rnxopr:i"i p ci-toia, j""'r}

rp EBErI I-J-rEl Intlt Lrn 'rat,ru u.rdnsr rrielrpaur ap srqoa-rqs(rg
ad p8r:a1 I-J,ml lnun :rlrrrs-la,r. rop aJp arlrpc-rl f]sraf,V 'r1Bs
lnaSode vl rlrc elnpe o srqca,rqsllC J-ruf ad r:rirpr:,rr rS 'BJn
-JLlrJSr ap 'urrzrlrrru Es eurlrll as 'nrptts lsalE ur rslrn[y

in 1(',(r1, irp,rre la Gr,rt'iirrgcn l']'i1(t:titt pbilo:opbicrrs l)E
IllIllL(), claLorrrt lui Mrrrtinus Schoot:kilts, ctrc rci;r in
apcnclicclc lucriirii srrle clor-r;1 rlintlc cclc nr.r' intp,rrt.rLrtc
sr,:rie ri r.urte rioilrc pc rrce e irgi te rni: a-,77?itcn I)E \ l l ] l l,O dc
Je rrt.r Prrsse rrlt (Prtsscrrltir-rs) qi Trtct,tttrs DE .\'11 II l-Cj clc

Ch,rrles Boville (Carolr-rs liovrllus)ll. Rrtslc-,inclr-r-le, ar-ct.t.t
:rcces l;r o bog:rt;i ,rntolc',gie cle p,rrrrrlorttri, crrre ilustr e,tzi cli-
nraftrl irr cr.rrc sc n;1sc opcrcle tirzri alc lui Gi;sbrechts.

A vorbi ,,dcspre Ninric", plltclr rrll.r dc rici, e st. r.lrt Lr.u'.1-
cltrr: clrrcl splllrenr c;r ,,Ninric t'.stc ccl-..r" (\'ibil ct tlirluitl),
c()pule intr.rrcllrce notiLllre.r lLri ,z /i in cl..rnrcr.rir-rl rrcliintirri.
I)ise r,rrsr-rl tlc ttihilct tr.1l.)sfornri ,,ninricr-rl" itt ,,ccvrt" ( hoc ni-

bi I uttt .l'trct // lLt t'st a/iq uitl):

,. I( i. r' rl. \( rr,'u\ ( l)uirrr.
;r-e ar trr.'z .l,rnc eLr ch.lrrtre qui dir rle 1'.r, oil trouvi.

C.rr s'il rl,riqrrc, c1u'il entre

l.t di'rse ir\'('c nrc)\', jc lLri plolr.-er,tl l.ien

Qr.r'ir i'he ure qLr'il pcns..rit ,rr-oir tlonvc le Ricn
lL tr,rur'.' Quelqne (lh1;5s..." 1'l':

PclrtrLl .t rczolr',t p;.rrirc1()xul, Schoockir-rs irttrtrcl,rcc tl is-

tincti;r (dc orisinc alistotelicl) inLre ttibil n('s(1tii)um si nibil
pria,tii'uwn. Prinrr-rl tip clc ,,ninric" rrstc ccl cirre ne inte rc-

ser1Zi, pcrltrll ci c1 sc define5te prin o1-rozitic. Ir.1 nlr cstc
,,rrirnic ytrtr'" (puntn nihil), ci ,,ninricr-tl .1 e u\-J", 1rc'{.lti.r i-I

co'rr. L,l cste deci un obic'ct posibil r1 reprez-ct'rtirii. Nzbzi
tTcgdti?/tm el vietir cstc rcprcze ntilrc'i1 lrortii, ninricul ncg:r-
tir. rrl discr-rrstrlui estc talccrcil. $i .rnr pute,r ,rcliug.r: ninricui
ncq;rtiv rri irnaginii cstc inr.1gi11c.1 .rbsc'ntei clc inr.rginc. A
vorbi ,,dcsprc" (srrr-r e prct;r) ,,Nirtric", t-ste tr .Il'ti.

'l'rttl,t lt t r ln i Schoockir-rs re;trocl r-tcc pcrenrul lr-ri l).tsscr:rt in
care muz:r cstc iln'ocirti:

,,Ch.rnte (inrrrgine), nrrr Muse, 1e 1{ien: r'ic nr6prisc p.rs 1.r richc
C.rr' l{ierr cst Llne genlnle) I{ie n esr de 1'.rr pr-icicu1." 15"''

Cor.nentarinl lui Schoocliir-ts nlr L'ste nrai putiu scnrnifica-
tiv. F.i ne spllne cii vclsul lni Prrssclrt: ,,Muza nr(':l it inveu-

trrt Nirrricul" (Ittcuttt t/1cLt IIilsd \ihi/) nu estc dccit inr-ct'

'r NinricLrl nu rc irlii niciurrtle .l\'Ju i cre,lcti. .r:rrc1rr. Ii' l.,,ctLtl ce zice c.r l .i
(-irei tlc irLcLrrzne;rc, s.r rini,fi sri tliscute cLr roi ci,rrt.li lrr-.r qrr'5, (-i
g.iiiL., nrirt.', ii
rrr rrcrrc !e .reJt.1 ci gisise \i;ricul I:l qisire (,e'r...(\.1r.).
'r 'r (lrlnti (ine hipLrie ), \1uz.r nre .r, \inricui: nLr tL (lisf le 1ui rrr.inr (..iri
\imicul (5t! () nestcnr,rti. \intiruL e\Lc.1Llr pr.tqio' lr\.tr.)

31f3

'nEs rnlnl
-lrvelr E 'aps iairrctsixJ E :aurs ap piurrlSlror urrrldap rrplrgqop

€ InolqEt ',rerrlnnl s,rJLLrep tsafE ur-rd 'ltln8nerir tJ? rnlrn
IE ltrrrj lntound EJ - xopEJEd ruDyn Lrn elsJ utselt rS - aund
-o-rd es ',,p,trtnrryep" Ij u ap ar,redap 'slrlra"rqsfrg rnl Insreru

-Jp ap gtt:nce.rd ,,ErraprLlJur' a,reJ n,uuad In^noru JtsA
'guralqo-rd Er rJt-rE ea,iatserr EI Etsrsts J,rEf,

uac :r:oda o ararlrLir srrlca-lqslrg rnl It srolur InolqEI

',,trur;nr" ep pit; ,,o-rez" sJ ErntsafE aundo as ] IE ' j,ltntxJuel
-rrr rnins-rnf srp" ln,rrlu8eu rrr Entrs -re -s ,,lnurN
-sip'.( rlrnl rS er a'atlrr,tnl atlr a"rdsap Ins-rn3
nJ 'tt1,,rr.z)od rou ap rrrlr
lellrel

-ur E paLrr EZIW" :(I'la 'Z'qli) nrl,rodo-r4 Jp sie^ rnlrn EaiES



TZE

sap ual)Hlsuaqrkx puz1 t)w1y uoo Suntnapag puh qpquJ n7 - ,,Buou tst
nqp sutt1"'SNIWWE'V'[:tOt'd,tE6I
,eurrr_req ,sdual uos ap apuatur{ atnjutad

n'uplr'lorSleaal/\),lnz(ZrpzraasrSafBilytlqJgtrsr'lXptelIlAtEloyIIr'rlIreUqrqrVrsanhurltatsrta'rrg-r[1u-:3ar6oBd]tru-orOqtsa3rtrlpnrdral1dp1e,an(r.Nere,nl;Orareqrtn))as)trAtlrorzIslsar,l,;qarr1jt,3lasyourturrzlraq1ounx1rp]l,tao,u,pgrrrATaa.s1.ar;rnq,jSoytn1UirqoEr"tlturXrqnIdsNltulArunrtsyXdA

' 96- I'dd' 1y1r1'uadtaoluv uajsunx auoq)S
kJ-rp),orrravr'\urntriarlaJnsr.Hdl"W" ''-tO:1I!'I1I-1lISqIVug1NSuoTZyO-lt9)tq.U.dud:ptza,aW^ySa,uol Jq,ssntl-.artva[.-v,x,inrlnpc1)[Br1anqs8n)op1:uarlutflrta.1zrSarrup\r,8,,-orrrlnoaaussou.r.narorya-nr:dartl,auirrlr..Jsd .f

',E'd9t-ltJtO'lofllEruzJ'S'gtgd''r'iIuf'a'g'rttrS1tsrfurprtaunr'pldl,lrrsrrn'sSnuIroXrfAriluoy'l1;'rNvta'c'(tLt-:1^?raI1ru''56rrau'crOnsvctngI1HJ_q'pCf,r,1nypp1rl(rret\pIpp)pUt"au;W'aplmVra,str(Ca)u;uodr1s1y.rupAaa,-1t4ori1t-:ntgtgrascatzoal5teuqp,-o6,onglt7tz^pclgrl1l,lu)"St,t..qrt)dOpt./Sdt,rs1Nfz,ltroVr:o1ap,1)oXo.pg.t.n,,ai4,CN9)ir9N:I(ff6Ie,fVNi1en'W,6SV1ET,tudWSIN,'u-uipa9,rVtoUt.rC,jApfLrz"iVdtoot.ot-dnu])fl .,

tnra,r"led nr-arr nu ao a;uldltrtxa rlSrlr e1 aleod areotiia;t; ,nrdtJ

r---rStua-Curlaiduevnrdrrpnrdleap'gr(c+dnur,-ryercJont)oi-qsyrdtSfr,rae-'psltSraa'1ioo;nut4grd1osarruslr1Frarrrpueprlnaptyrrr:€rruurtrnnrsJtor^Sn)prrpuipiSrru'pev-Jrr[op.7.^;me,JI1EJq1UwXJJa,Oor,oaWlrasrqantd.o.lo1Ho.r)la.xrruu:p.o.ILru-rnrrzoaarll.isrt,)r,u,uasrrlrnnJsaursrsns1.u11rc;49sq19^
rnl ururrJ'(Seg'd'A'lo,\'tflI's.ra.trry 'rruru() atad6l:ut,9791 ,otl.tt1t1suJ nuota
luptlsll?l) e plrtrrir
-Lltpw snwsvua tsoj Eaualursp o lElnruroJ E Jrel l,n(elr8rr6.Ir)d 'z
'('rurn rs EZ 'd
-KutI'.psu.rarrllso^1li1avp-nrr6l1rrd',,'iinls1u6B1rp} urepqptrrEllrl?{ Wo3J.rOr sa;sun4o..H,garlJvt uurl
tsr.nl3 ;o s8urtrrrr4 par-ra,t
.1,11.71) sSuuutpd pattaaut
ap nus (996rJ '1:o1 ,ra1r,i-r,.tpno1.',(.r.ntut:) qiu)rtu)aas )qt m Buttuu1 5hl7lrS
Wlile 'WOELSCUTS '[ :rza.r) ).{!t,ll!lt pau)out ap firn^ud gtserf,r ur ar$Jq.ro,r ag .1

Ireplqrseo .I

.(plu1a.rd '41 '1o,r
=) Olt d'19111 'ulyorrnry '.lqrplul s',WaZpeartlrpJ,sCnur6ar9Dttluu,vrgllgsra9opIra,r(.rl1?nolr,lSrpptsl)sldnst,etIufln4U,VsaUitfutaI,Enp5d..srra."lHr,,Jpla
-s(i);rvtrrsr)lotpr1nr l\rarutrsn]ptb.J
rrr alilpa, (VGgl .9
ua s)unpoW
n

teP nllptt)z ulrp toa sapltg s)p alq)lqrsa{) )utg .7lux pu'9il66p,lytt'lua,3rlNJrrInI-WI.,{$tuI il.XH .E
',,nrJIqEI" 'a s 'setuan.9 s)p 1a sj.tv s)p ailvuuotlJt(I '1,

',,nra]quJ'.<'o s'/as.eolun anpuuott)l([,EU{IJEUqJ 'e

'III'lo,\'astoJurtg r'ttu)1111)VJ )p'J ',,ner]qtsI'< a s'p691 'sr.rr4 '7
(I .W tut/ satuatts s)p t) suv sap dttruuotjrt(l
',,ntsJlqrlr'< a.r'0691 'urrp-rauog-u8r11 ,(..')7;-s-r.rorul)attaLuntot(I ,EUEIIAUIIJ.V .I

aJeJnpoJlrrl

aroN

it',ii.'.tit::t'1, i'. 11t; il1r,:r,:.j,,,t-,:,': !(,\..;: irr:t,i,,i .i,.i .lil-;irr'.1. \. lril
ilrq,r. j'l 'lr i.,ii \,. (,lr.l r:rji t'....
ltL.,l: i.. lr,r l(,ititir l) l'. -:'ir'ticr,lrLit,t;. l\.-ttr:rt,:, r, r,. : l.l'qr,;.r iiril\',,J..ir,rir,.'-t. i,,
itrti:tl-.i-i,.,.iir,ti 'rl r rrJt.
ir.11qj 111- '.1

!'ril'L:.rr/; ;.i. lillii'i/+),Lrf.i,li i11.l'. lr..l:.\ir)..ii'r .r'ri.. lli,rr:rrrL:r',\1,ri,r'r

:{r.L'il!'! iia I ,.,.1;riti i-icLiir,'l;rii: liL;;-.iir:;ir::l |...'rrr r Ll ,':ir.':', r,i l.-il.r:'., i,ttrit,,ti.'
.1,it!)(:i!)it;.t,rti it:i:r,,it"l--llzrirf i,ii,.,
:'.1)7 i.).'t i r.,,iitLlili.: io,:,.i-riitt 6,'i:r't,'i,r.r,itj!l ti:L !''.,',-'t,i .ti,'(t:i:l.i,:t'':i:r')i';tri1:t1i;:r. 1l'l it7,
ji)., l'ir'ilr- 'ilirit'r, '.',-

{.t))iial:i ,t.i titt: llc.l,tll,tii.)1t i.it.i.\, i-l',t,t,-.qr'" iilrii. l\lrr, t-L;,ir ;.,:rrii:ri. i')1.i. +.
ait,\ j'l:lt. i../-tti,,i,'r.t iliiti (iit' \,)''i.tl.ii',ilt';rt.: .i :tt ..,,ti'i(r:rii:,.i:t' !:iiri i)iL'l,t

,'ir'1 lj{'/r.f t7r ll/(,r, irt: 1irrt-i1lrlrll /)ri i1 . ilr::;rL)/1 .'i1): /.i.''.t,11t1,r;:t,t',' ir.,riri. li,':r:-.
pi..l1!) l._-ri; I:i.\1.{-iiAl(,,,, lrir,r!i.,\.!llsL.,:.r:,,-l rlrr I,ii,,ri !r.ril', i;it} {{'tll,;,,t.i.,)t'

(l9i;.1)" fir, I l5; li. (;l'.\'\tI i.1 , ,.ir-r:i'ir.:rir)its !L]r irr ttt,rli,irrir rlr.'', :iii,rls i. ir''i
ri,ln:' lcs trrltlc:riir ,.1,: :en'.1 t't rli' irr.rir-r:.rs nii)itti .r,i ,'',\ iil .ri.lr'', irt,ir!rrr'k. . ,': ,.
1 'ja. 1;-lr,j ir.)3'r, i-ri) -la,j .i'li, i.
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r1. '' ' l, r,,.rir.,
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;: ii: 'i),,.
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. '.-,.r, l:. i:lilrri:'i. /:::,u_t, llt,,i uiL')-..ril,tr: i.li ,\',rti l' . ,,,,'1,. 1,iiijt.t\...
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30. Vezi A. CHASTEL, Fablcs,Itormes,l:igurcs, Paris, 1978, vol. I, p. 151; L. STEIN-

BERG, rccenzie la. Velizrluez, c'le Lopez Rey, ir.r Art IJulletin, 47 (1965), p. 289 qi

l\{OFIrlTT, ,,'l'ercbat in mortarto" .
Vezi disculia in jurul acestei problemc irr: N. IvIACLARIIN, National Gallery

Catalogue, The Spantsh Scbool, Londra, 1970,pp. l2l-124.

12 CHAPEL.AIN, ,,D6monstration dc La rbgle des r.ingt-qu,rtre hcures et r6futatitrn

des objcctions. Lettre i Antoinc Godeau,29 Novembre [(rJO" in: I-ettres dc

Chapclain (ed. dc Tamiz-ev Larroque), Paris, 1880- 1883.

33 Vczi irr accasti privinqi FRANQOISE SIGURET, L'eil surpris. Perception ct

rcprisantation dans la premiire ntoitii du XVIIdmc silclc, Paris, t993. Ileferitor la

noul roI conferit privitorului dc pictura secolului al XVII-lca, vczi obsenaliilc,

nrcreu valabilc, alc lui A. RIEGL, J)as holLiindische Gruppenportr(1it, Viena, l93l
(1902) 5i conrentariile lui W. KF.lvIP, ,,Kunsnvisscuschaft uncl Rczeptionsas-
thctik", in: \W. KEMP (ed.), [)er Betrachrcr ist itn Bilt]. l{unstt'issenscbaJ't und

Rezcptionsisthetik,Kitln, 1985, pp. 7-27 si cclc ale lui R. \{'OLLHL,I\4, Paintittg

as an Art, Princeton, 1987, pp.43-lCl.
31. Asupr:r pcrdelei ca nloti\r pictr,."l, vez-i capitolul III. in cazLrl lui Mattiram/Acrt-

sen, aspcctul de sccni teatrali rr ampl'rsirii ,,Cinei din Euraus" sugercazi Lln cverl-

tual contact cu Camcrele de Retorici alc cpocii.

l5 PrinruL c:1rc a atras atentia asupla posibilelor raporturi irttrc tiuirul Velziquez 5i

scricrilc Sfintci Terez-a a fost M. S. SORIA,,,Au Uuknorvn Early Painting by'

3(,. Vcl:izqucz", []urlington MOabgraazstnCe ,,o9nlt(p1le9t4d9s),(-ppB.ib1l2io3te1c2a8. dc Autores Cristiauos,

TEREZA DE AVILA,

212), \{adrid, 1982, p. 532.

II. Geneza naturii moarte ca proces int€rtextual

l. El este dr>cunrentat pentru prinia dat:i la BAILLET DE SAINT JULiEN il a sa

Lettre sur lo petnture d un imatcu.r, 175a.Yczi in aceasti privintri: 1v1. FARE, ,,I)e
quelques temres d6signarlt la peirlturc d'objet", in: Etudes d'art JranEais tlfertes a
Charles Stcrling, Paris, 1975, pp.265-278.
Literaturir collsacrati acestui subiect cstc imcnsi. Ma limitez. la a da titluriLe

cscntiale: J. BLRGSTRUV. Drr, lt \ttll-Lilc l'aintinp:^CH. STERLI\C. La ra
ture morte. De l'Antiquitd au XXc .sziclc, P.1ris, t9E5l; I. BERGSTROM/ CL.
GRI\,lMi IVI.ROSCI/M. |ARE/ J. GAYA NUNO, Natura in posa. La grande sta
gione della naturd euroPca, Milano, 1977; Stilleben in Europa (cat. cxp., N{iinster-

Badcn-Badcn, l98O); Das Stilleben utn sein Ge genstand (cat. exp., Drcscla, 1983);

A. VECA/ P. LORENZELLI, Orbis ltictus. Natura rnorta in Gennania, Olanda,
Fiandre. XVI-XVII secolo, 13ersamo, 1986; S. SEGAL, A Prospcrous Past. Thc
Sumptuows Still Lifc in the Netherlartds 160A-1700 (cat. cxp., IJagr, 1988); E. DE
JONGI{ s. a., Still-/iJ'e in the Age ol-llcrtbrandt (cat. c'xp., Auchlar.rd, 1982); CL.
GRIMM, Stilleben. Die nie derliintliscben und dautschen Meistcr, Stuttgart-Zirich,

1988; N. SCHNEIDER, StiLlcbcn. Realitiit und .S1,tn12plile der Dingc. Die

StiLle benmalerei dar lrtiben Neuzcit, Koln, 1989.

in contextul studiului ureu, se vor putca consulta cu folos doui lucriri: lvI. E.

BLANCFIARD,,,Natures nlortes. Pour une th6orie de la disienati,'u su O.t.t
ture" , Comntunic'ations,34 ( I 98 I ), '+ I -6C qi nrai ales N. BRYSON , [,oohing at tbe
Ot,erlooleed Four Essays on Still LiJ'e Painttng, Londra, 1990.

2. Yez.i ROSALIE L. COLIE: Paradoxia Epidemica.'I'he Renaissattce Tradition oJ
Paradox, Princcton, 1966, nai ales pp. 273-29(); A. E. MALLOCH, ,,The Tecli-

r.riqr-re and Functious of the Renaissance Paradox" , Studie s in Philologl,,III (1956),
pp. 191-203; M. T. JONES-DAVIES (ed.), Le paradoxe ail temPs de la Renais'
sance, Paris, 1982 9i (pentru paradoxurile optice) M. KUBOVY, 7'he Ps1,ch6log1,
of Perspective and Renaissance An, Canbridgc, 1986, pp. 65-86.

324

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llr,i 't rp

13. Yezr irr aceasti privingi obscrvaliile tui BERGSTROM, Dntch StiLl-l,iJ'e Painting, l:
p. 342. Per.rtru problerneie de principiu puse de sirnbolismul naturii tnoarte in ge-
i1.
neral, vezi qi: E. DE JONGH, ,,Tl.rc Interpretation of Still Life Paintings. Possi-
bilities and Limits", in: StilL LiJ'e in the Age of Rembrandt, pp.27-37 qi S. SEGAL, .L
,,Synbol and Meanir.rg in Still-Life Paintir.rgs", in: H. R. HOETINK (ed.), The
Royal Pictwre Gallery Mauritshuis, Amsterdan'r-New York, 1985. 3l
m. I
14. El apare deja pe voleul sting al tripticului Braque de Rogier van der Veyden (c.
t.
1443-1451) aflat asrl.zr la Luvru. Vezi: DULBERG, Prfuatportrits, pp. 153-163.

15. Yezi: G. HULIN DE LOO, ,,La vignette chez les eulurniueurs gantois", Bulletin
de la CLasse des Beaux-Arrs, Bruxelles, XXi (1939), p. 166 Ei P. PHILIPPOT,,,La

fin du XVbme siEcle et les origir.res d'une nouvelle conception de l'imagc dans la

pcir.rture des Pays-Bas" , Bulletin des Musdes Royaux des Beaux-Arts, 11' (1962), p.
9.Yezi oi: J. \flRTH, ,,La repr6sentatiorl de l'image daus l'art du Haut Moyen
Age", RetLue de I'Art, 1988, pp. 9-21.

16. Pentru motivul simbolic ai fonnal aL arcului, r'ezi F. MOBIUS, ,,Uber und unter

den.r Bogen", in FestscbriJ-t Jobannes Jahn, Leipz.ig, 1957, pp. 73-83 5i K. BIRK-
MEYER, ,,Thc Arch Motif in Nctherlandish Pairrtir.rg of tlie Fifteenth Century",

7'he Art Bulletin,43 (I')61), pp. 1-20 qi 99-1 12.

17. Yezi PHILIPPOT, ,,La fin du XVbme sidclc", si ID., ,,Les grisailles et les "degr6s
dc r6alit6" de I'irnage dans la peinture flarnandc dcs XVe et XVIe sibcles", BulleLin

des Musdes Royaux des Beaux-Arts, 15 (1966), pp.225 9i urtn. Pentru un context
in .Structure and
nrai larg, vezi S. SANDSTROM, Leoels of {Jnreality. Stwdies pitr.". New Se-
Construction in Italian Mural Painting during
thc Renaissance (-

ries, 4) , Uppsaia, 1963.
18. E. PANOFSKY, Early Netherlandish Painting. Its C)rigins and Character, Cat"u-

bridge (Mass.), 1953, vol.I., pp. 140-144, Vezi de asernenea: MICHELINE

COMBLEN-SONKES, Les Musies de I'Institut de France. I'[usies Jacquemart-
Andrd et Marmottan d Paris, Musde condd d chantilly' (= Les Priniitifs flamands'

1. Corpus de la peinture des anciens Pays-Bas n-r6ridior-raux au quinzibme sibcle,

15), Bruxeiles, 1988, p. 131.

19. QUINTILIAN, 1nsr. Orat.,lI, 3
24. PLINIU, Nat.Hnt., XXXV, 101-102.

21. F. JUNIUS, Tbe Painting of the Ancients..., Loudra, 1638, p. 90.
DERRIDA, La Veritd en peinture, Paris, 1978, p. 63.
22. J. HILLS MILLER, Deconstruction and Criticisrrz, New York, 197c), p.2l9.Tra-
23. J.

ducerea francezla pasajului este de G. GENETTE, Seuils,Parts, 1987, p.7 ' Cartea

lui Genette oferi o foarte importanti analizi a ,,para-textului" litcrar.

F. BORROMEO, De Pictura Sacra (1624), ed. di C. Castiglione, Sora, 1932, p.7a

(l,onge commodius fuerat, faciem eam, .ttque tabulam imagini ei resservari ttttam,
cwius causa instituta erat).

25. Yezi: D. FREY, Bausteine zu einer Phrlosophie der Kunst, Darrnstadt, 1976, pp.

212-235.

26. Yezr: I. BERGSTROM, ,,De Gheyr.r as a Vanitas Painter", Ou'd Holland, LXXXV
(1970), pp. 143-157 $i I. Q. VAN REGTEREN ALTENA, Jacqwes de Ghel'n
Three Generations,Haga-Boston-Londra, t983, vol. II, p. 15 5i umr. 9i p. 84 9i umr.

27. Yezr: LISELOTTE MUffnn, ,,Bilclgeschichtliche Studicn zu Stamrnbuch-

bilderrr, 1I. Die Kugel als Vauitassvntbttl", Jahrbutb der Hamburger Kunstsant'

rnlungen, 2 (1958), pp. 157-177 si I. tsIIRGSTROM, in Les Vanitis (cat. exp.,

Caen-Paris, 1990, pp. 49-54).

28. Yezr: A. BLANKERT, ,,Heraclitus en l)ernocritus in het bijzonder in de Ncder-
Iarrdse Kunst van de 17de eeuw", Nederlands Kunsthistorisch Jaarboek,18 (1967),

pp.31-124,
29. tje notar ci tradilia reversului de tablou cu craniu mai supraviequieqte inci in secolul

al XVII-lea, in paralel cu ,,deturnarea" operati in operc precurn cea a lui De Ghevu.

326

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$i Lr!.nr.; \il.B. JORDAN i P. CHERRY, Spanish Sti// t,ifc Jrom Vclizquez to
Go1ra, 1o116.., 1c)95, pp. 2"7 35.

6. Vczi .JORDAN/ SCFIROTH, Spanish Sttll Li/e, p. tZ 5i urnr.
7. SCHRO'IH, Spanish Still LiJe, p. 29 5i umr.
8. Vezi PACHECO, Arte dc la Pintura, vol. II, p. 185. 9i textele publicate de
CAVESTANY, Floreros ),bodegones, p. 134 qi urn.r.
9. Vczi M. SORIA, ,,Sanchcz Cotin's
The Quince, Cabbagc, N1clon and Cucurnber",
Art Qudrterl!, S (1915), p.
224-Ta ;;i intcrprctarea sur.rbolici pulin
convingitoare a lui DOM DENNY, ,,Sanchez Cot;in Still-Lifc witl'r Carrots and

Cardoon", Pantheon,3A (l972), p. 8-53.

10. Vezi CAVESTANY, Florercts ),bodegones. C6t despre clcscmnarca nigci ca,,r'eu-
tana", faptul trebuie si-gi giscasci explicalia intr-un mecanisrn dc linibaj. E.

YOUNG, ,,Ncw Perspectives on Spanish Still-Lifc Painting of the Golden Aee",

Burlingtott Magazine,876 (1976), p. 2C3 qi urm. identifici (intcnreindu-se pc ,r in

dicaqie a lui Xavier de Salas) nige[e lui Cotin cu ,,cantareros", firide in zid prczcnte
in c:rseie spaniolc alc cpocii.

II. I)csprcproblemelescmnituriivezi clcasernenearnai departc,inspecialcap.VIII.
Vczi si nurrirul spccial din Rc',tuc dc I'Art, l()74; O. CALAIIRESE/B. GI-
GANTE,,,La Signaturc du Peintrc", La part de I'eil,5 (1989), pp. 27-43 qi V. I.

STOICHITA, ,,Nomi in corr.rice", in: lv{. WINNER (ed.), Der Kiinstler tiber sich
in seincm lVerA, \Wcinhe int, l()92, pp.2c)3-316.

12. Vczi: J. A. SCHMOLL gcn. EISENWERTH, ,,Fenstcrbildcr. Motivketten in der eu-

rop:iiscl-ren N4alerei", in: Bcitrase zur Motiahunde des 19. Jahrhu.ndarts, Mi.inchen,
t97a;P. GEORGEL/ ANNE-MARIE LECOQ / A. MOUSSLINGNE, D'un es-
pace i GOTTLIEB, 'l'he
I'autre: la f\Xe/nin|tdroe.,o Saint-Tropez, 1978; CLARA Ncw York, 198 t. Windo--
in Art. I"ront the oJ'{Jod tct the Vanitlt oJ' Man,

13. Dc uotat ci in toatc scricrile despre arti clin secolcle al X\/l-lea 9i al XVII-lea
pcisajr,ri este vizut, ascmerri rraturji u.ro:rltc., ca un ,,parergon". Astfel, de exemplu,
la D. BARTOLI, Dell'Uomo al punto di morte, Rorna, I657, p. 12 9i unn., care,

dupi cc vorbegte despre peisaj tbcpt condirnento pictuTdle il dcfine5tc dupi curn

urrtteazi: Per ulonaoalonnotadn'aunnzaaJinneisstlrlag,goitap.e.,rqualunque altra apertura di ktr caltric-
cio, mostrarc

14. Acc.sta este lrotivul perltru carc! in paralel cu formarca unui vocabular specializat

ce include notriunea de ,,peisaj" (paese, paesetto, LandscbaJt), terminus technicus

cel nrai utilizat este ,,le lointain" [,,dcpirtarca"l (il /ontano, iL bel lontano, /os /e1os,

los bucnos lajos).

15. A1IETINO,l,ettere sull'Artc (ecl. dc E,. Camcsasca) Milano, 1957, r'ol.II, pp. 16,lti.
I6. Vezi: Nl. N,lEISS, ,,.Highla1cls" i1 the LowLatrds:Jatr r';ru E1.ck, the lvlastcr of F16-

rnalle ,rncl the Franco-Italian Tradition", (.)azatte de s IJcaux tlrts,57 (1961), p. 30]

gi r"rnl.; CHR. HASENMUELLEL, ,,A l{achine for the Supprcssion of Spacc. ll-

lr-rsiouisnr as Ritual in a Fiftecnth Centurr. Painting", .Scniotita,29 (1980), pp.53-

94 (in special p. 74 qi urrn.) :i H. IILLTING/ DAcMAlt JTiCIIBERGEA, /ar
Van [,1,ck als Erziibler, \y'onrs, 1983,p. l5l.
l/. BL.LTING/IIICHIIERGER,./an Van E1,ck als Erziihlcr, p. 145.
Ili. E.xprcsia ,,rnise en aLrinrc" (sau ,,cn abvmc"), pc carc o rei;1r-l:rici intr-un sens lirgit,

:r fost crci.ui de Ancir6 Gicle intr-o paeini cclebri c\n .lurnalul siu (1893):
n,,,irnjcrilopr,laicncsucigr iinsutrb-oiecotpuleariccdsetc"i rotipei,r,e.i."Nricmgiisccar.srucioalsimifculrcu5;1rrc.]smpu:rr,i i,, r."." p..r,,-

binc qi rru st:r

bileqtc nai sigur toate proportiile ansamblului. i\stfci, in ui-Leie tabkruri dc' Menrling

sau cle Qucntin Metzys, o mici oglindi convexi qi intunccati rcflecti, la rinclul
'Msieun, ininetleorricoleruVleilnacsqipueerzii(cilnarcinanrcroscel joaci sceua pictata. La fcl re intirnliii in tabloul
pulindifcrit). Insfirsit,inLrtcraturi,inllamLer,
scerra comcclici; qi altun.lc.';r irr mulr.- .rlrc ;ricse. in \YiLhc/nt ,VeisLcr, scenele cu

rrarioncte sau serbarc.r d.- la cattcl. in l'rnbusirea cttsei LIsher,lectura care i se f,rce

328

6Zt

a'rs8aoooq11'(laruprrustrtr;3uirtl7pt,ira)1'9t(t8g1tti'g-N9l)gAZqIaTVta'cruyld,ISa'1":1tlyo'14oot-qr.lr{l'Zn1aNnpqVts5Al)'-ptLy'Sruyt:':p.1Llsquuurt^el2uAldnlniqfprqs)u)Sp.r/.rtLiu),p'Luluro)ol,zq')rl.l^\ tf
-sl\oruns tII tlln::rP afSrspi as rtatuts8oOll rrrn rnl rar;cio r
'ttlrn IS e6'd'9f.(rl'trarylrnl,q '(z^zat) sttapwtqqpf .11 r.-rrlerSouO[r olr]tslt O Zt

-loq np ur sap tanl/1W uaq)s.tpuL,l .lt

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'(tpunzltq:;tztoop ap JlJrunu qns uzeJuruJs)p o sJt,r4 061 r_rur acl)
p Jlrrru)^" r)ln rztsrl'iLr1n1o-rrs
,,Jo1uapnlrsJp m1 rp y.trrc:rclsrrd ap rlrrpus r1lnrtnJrrlr;nLuurrrpul rapr\Erlrlrn1q,t-s),.rra.sLRtgu_llo..Ji,is,gJUC,lt

rp upLUapJ,IA
'ti:rrlrrtnyAi 'ttapunqqu['/[ Lut t)nlLlLu)luat aq)stt1irryo1l ,N1t\()Ug .XH] :rzr1
'r''us,d'\3l;x\ptualutatlrott[ppt1tu)uEa4(cg'prfrgroqn)u6sqsrn,lJrf)ro;\yr''S]nussturrtllq)ellpnlwirtsrqru({rt':Idn)1rNqna'c'1qItIJQf1iri.6z.aL'1lsrorarsaa'',u^ra7udLnqSo''r)nisoE4rS1telpsapnol|trluoqpcaI-lur'tpttdr1su1p,-t'4Cd-trl/pvSnr1u,lo,n(r1La.ucludtIoH'u1q'xuLtul)laurLV)i.raIr1)e{udulJrm1),.no,Orrt47urpt.rq.il.Ll:1t'rru)1rNj)'plrautqlI,uttpS'n.nNYt{ua[rtu^t7tt:cr.tuIt:-aqlrl)t1tsid,gvIru39)grlStuupf6ZatvInN1Zat-il1;q){Cdddusre)dc.Ntldr,resr,p'a1S1(,:"6yir{.srzz.}tsd.nozSarxc6-yrnq1yti, C!
.()a

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97
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r)
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'ta
-;err slrrrnr.rddolr^ap

lr--r\ '6 c .dd.rTzsl
nz'o9la86qet1o1edlgy't1uglgd6pIa1'iiflrvsar:l:lLr(nn8t'r)t^IlA{'dI'uEalWepr1TcurXudtIsaE1ul .iduagIS4fla6ttr0seal \t.s.dnd,ptdapu,(ay.pqttnrtttlt:s)uurari\ln'u.yrInJllj?,)tI,p:a{ltr,-tttI\)
'uaqrunW
-N-,:ISIE

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p'.rrttu;t1rurrtf.1srqJtlrulr)urdtu1aucr)-r\ul.^t[qrtlrlotnqduJttLuJtIu'<rl''rtd[,aHsSsTpuVr.,4l Nq)ftn:g(1l1\\L,J)'i:Cl.B)(lrflS.),]r.,\)A
.naN ta
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t''p.rLrrtV-or1n)LrxSlto;u6't.(1asrd'pOtp"SrnrCgis'iW'su:trtro1p.llappxunr)yrgSr1ua-toulltr^tau/:tTr'.nH,.t{lodll)lJrgtuVl,n{,aO\qzDtrlKr'1F).I,S',-pNCt/:tI-rlltSluLt!fW.\zSa,..VL,..EcJ).Jfd-VngCltl.rdUzdlOJ,(tNs,1q6'.Iq .Zlaa

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ll'(plZulStutelu7tt)lqng)p'n{aqopclolP)1.D112q1sr1)s1Lu?taWuooJtcUl'),sp'1u'la1u[11vq1i'l(v74NuduXaarErpa,'1sc7utW1Vuudgt;oaspNui).OsTrsopAanerWqIEIlJsrN))rarltNlrtrlrVsausurHptslOaxrupIatlrStlzpq)JoArSUd.u,A.gn-,ItsN(fIt-OeOlul]UtTtp..uc.WlHidl '6I
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|716y 'sttt:4'aunqu tta asltu yl .Lt4s tvssT ')ltylnra(s 1na.t a7
ta alxrurtrrl" 'HfVgNT-ITVCI .-I ,(gU,l)
111 'anbuaorl ',,atxrtolnu Z6-lg 'dd nrtrrJd
c16'saua8ot11 ',,auuqy ua trv" 'NVZINO) I :rzr,\ ..rnrrqu uJ Jsrrrr,.

'r-tntorcl urp aserlxa alduraxa rl pu?-r lnnn-ld ur L.JaJaJ Js Jpr.) uf, ^u?Ji(;r'uItlucds'gJltrs,;t[
'sred'6,t61-63BL luutno[ 'TOIO'y)',,"auriqr ur> p)]rop p un ,prrur,rd rrr ,aund
p rrr ptsuoJ r.rEl tnlnuozplq 1e naprco;d lorr ne rtlurciuroJ atsa ,aat1e1ua.J. z7 rn rS
assr:tpN ttt'elattt ala1ala.') LIItn-IArr]EJraIIrqrettraunds-rEJJEJJ]'t1ntrrryrut1nrrrr1
lrr ar r))J rsnf rniosqy atsJ nlr rldruaxa Jtsalr J-nurp lnun rlrN .rtJ lrrrapol] rni

l9ir9, r. 1.15 sr umi.. ri {,,. lllt lrSL ), 1. ,'\ritlice ,irttl tlitslt'it. ! i:c .'\tr ,tri \\ rititq
.\'i!;nftcl tan ilrto,lsirtiior. Cirir,rlo. l!!i, pP. 16ti i 16. ';.1

-l-+. \rr:zi 5].il"1OU-.'sKl, {,ctniiltlc t.l.t: lit'tirbr,uriit .\cl:tilcr, \(rl.Li, p l-i04 (cLr iriblio
grrii,r) ;r I). Alil\5S1, [,t'l]ci,til. l)ott"r uitt'hi'ir'tr: t-:tl]])r()(i.1at'{le itI P(tttiltl('.
\irr,'cezrii:,,lvl!i.)\9Ci,L1A;Rp.IlT.-N15,
-15. i4l;. i)utth.\el.'orl, pp. 9rr iCC. I'cnt:.'.i o icctrlri clnLic.rl:1
l'i:a

trlci: 7bl icn,tg en.rcrmLl.irk, p. (r3. :rr. {.).

lrr. \''czi ILP.Ci{APhtl\N,,,AIlo/lttti.:':l:'icturn:()bscrr'.rtionsrirrtlrr:-Iitlri'ascol-

IItrllir:ili)i1p,-'\lnr,gi,c\.l's,,PLloirJiiirric.,\r,n,s\tciitstld1,c,rr1 iiottst", \'inur/t.ts, lt) lirlj(.), pi;. i3-1 :143 5L If .
()irti iictlltttl, t03 li9ll9).
tlc:r .\childer I-;r,rtsr".

pp {81 122 (iir special p. l9i 5i Lr:-ir.). \'c;.:i 9i jBAN I)UBl?,tluIl., S. .!., l,:. I)r:r-
sPci.ttNc Ttraiquc, Jraiis, l6(rl, vol. i, p1t. 5-l sr u: nr.. ',-i \i r.'.rn,,
3i. Yez.i W. KEfulP. ,,Kur.rst t ircl qcsanrrcit", irr: lirizkAt,llL:,: ii,rrisr. Sttdte ttbr5;l.ar;

brtel -1, Vcr:rhcim i3asci, 198.+. 1:,. I si ur.nr.

i8 i\. 1'!-l-llJlLN, Dc-r 1n'incipt's t/t l',irrhitactrrrr'. tlt lt p('t|/l1trt tt L!(:t,tilir(s /rItt.lt!t
19. \t:,n'ciizpia(n,tLlrn.tG.ARiI;lcvtlru\,nI t.lic,i\iolttcttttBruil'dccd:cr:r:tllcttrttttcictts^pt[ttt.p]rt,',cc.h;,tinr.l-tli'u)'ipltttlttts1,,:1'arisL,c;i:/,Plrl4nr-,.ir,Lci6rtl:(nr,.
i9l8; T:. f . Cl)NTlIrN , G 1)1l:l lit(lLl, Biltcrrahntct .\itt! \ t'r;:uidurr:-,\1 ,tit'-

r.i,il, l''r,,rnchcn, 19g3; S IrL,CtlS, l)c: Btli,:rral::rzril, ilc'clilrnglr,iuscn. !1)85. i)cn
rrlr ranra oiantlcza vczi: ['.J. L |AN I'1 llir]- i a.. j. 1)! iliil-l\'\ Kt)F5, Pritst dt'

Lt1st. /)t: llollttnrJse srhiltic,"tilt1:L i.n dc zc't,:nt.icildc cc/ti:'(t:.ri. txp. I{r jl<snrustunr
Arrrstcrcl;r:n), Haga, i')84. 1-)bscrr':rtirlc lLri \ llN \\'i-lH1'-f., []cr itt:rctirtt;tt: i:
t1rt2i.4in9crhre.rnru,r.1l?i,'c9c, ipcp'...ic36lL-3ri1)Hs. uBnAt (UlcllRils,cllnitrlcillrinrntiii,i;lcl)h,,t:'t\tl.,inrltccr.t:t rir:s 17. I.ti :i :t. !.t,
"{f;. \1czi L. h'lAI{IN, ,,L)n Re;rdinq i)ictu!:cs: i'ot-tssir.'s Lcttcr cu \llnna". ( !)-/)tfitrd
ti';r,' (.rtttrisrit 1 (1t32). pp. 4-13; lrLlr4[r, ,,I!L;irst t'irtl gcs.',nrnr::it" i . .:J '] L1r-rrl
lN,,,I;r,rrrr ilq Classir:a1 3p;ir:,:'' . f p. -17 -+ 1.
iL E( i L F.ts trN5lT'E r!,: iltcctla, l)ou..sstn nui-,itt't ri'aftri: lr':,n'rgtit,t,,,t l''.ii r't ii)ti,.ittn\),
,rr tt't':1,,:77uf,1t7

+2. l'.tt''. l'r"X-' i'i' -'-li. Pousstn. y:.2i.
(,o'rt'sPotiJiil(t: dc i'l itoias

-ll. ry'c::i \{r\RIN.,,{)n licadi;rg Pictuirs..'", p. l!,s1 !, 1;\ri 1r. ,.Kunsr .'i'irtl gt:;:irr-
irclt". pp" l0 ii.I'cntn.: binonrr.iL ranii pcrspeetn';, r'1.;,.r ,\. iriil.)(-A(-(,ll\i, ,,,,'\i

+4 berti :rnti lhc "J:'rariinia' oi Perspecti','i",.!.)urit.tl o.j .'14;i1;1'1'rt ,tni. ,,\rt. (.ri.t.tttsstt"
ripil,.2e(-H-391" iN--iLL{)U, forrtt,ti ,lr.' i,..r',r:.r.' tiri {.,,'.r.,altt'i flsrn17i1 7',t
XXX (19'ql).
f. 1;RF.ART
I'ranrc, cirar dr'.it-)UAn.lN)1, (.,()r1'cil()ilLLitrr-; ,i1; ir,iioi1; i)t)ti.\,\t)t., i:. ).i-. t., )
-15.
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.Anr putca cit:r.cl iruli11 un cxclrirlu: il'iltcl"rr:tij iirrvid rlc
\'czL L'. \i(-)\ ji
i\rt iusiir.rrc,-liri \\'-ilhaurstown (lviair.). -\i-. , -',,.r ' ;,1 l,)i- ( ir' i l--ir, , St',iil;r'ir ztr
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.|err Gtls:;art", it: i1' ' 1,1 | l)rlrll:l:1'(ccl.

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bran,lt . i)rt: ilti.l.iy,t I'lLiitiilL' ,'lrt tii" 1',::;::t, i.'rrtt'ti It,ritnii! zLr litltot.l't':Ltrklurt

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'.r)\.runl^,j '(.q7r11) ,tlsutiy-,(at;t1qt,11, pLul - ljlt{! ',ttrll .':,)! )ttitdpu)V',1.}l yr}l(INVS
NO,\'1 lrl tr,lnt,i!ril l1r rit.rrtnclstp'ol:iJ-rnu-it'-,) tn1 t: ttrfo.Lii littoLuV o) r-rntrFei -,r1

ford, 1977, p. 85-99, dc unde citez); G. INCISA DELLA ROCCI-IETTA, ,,I)ocu-

nrenti editi ed inediti sui quadri di Rubens neila Cl.riesa Nuova", Rendiconti de lla

Ponttficia Accademitt Rontana di Arcbeobgia, ser. I I l, r'ol. 35 (1962/1963), pp. 161-

i83; J. MULLER HOFSTEI)E, ,,Rubens' First Bozzctto for Sta Maria in Vallice L-
la", Burlington M.tgdzine,l06, (196+), pp. 442-450; ID., ,,'Zu Rubens zwcitcm Al-
tarwerk frir Sta. Maria in Vallicella", Nederlands Kwnsthistoriscb Jaarboek, 17
(I966), pp. 1-78; VARNKE, Italienische Bildtabemaket";V. HERZNER, ,,Honor

refertur ad prototypa. Noch einnral zu Rubens Altarwerk fr"ir die Chiesa Nuor.a in

Ron" , Zeitschrift far Kunstge schichte, 12 (1979), pp. I 17-132; A. ZUCCARI, ,4rre
nella Roma ZUR
e committenza di Cara..,aggict, Torino, 1984; ILSI, VON

MUHLEN, ,,Nachtridentinische Bildauffassur.rgen. Ccsarc Baror.rius und Rubens'
Gen.rilde fiir S. Maria in Vallicella irr Ronr", Iliinchner Jahrbuch der Bildenden
Kunst,XLI (1990), pp. T-6a;H.IIELTING, Bild und Kult,pp.538-s.+s.
.1. Vezi: J. HESS, ,,Contr ibuti alla Storia delLa Chicsa Nuova", in: Studi di Storia tJel-
I'Arte in ()nore di Mario Salmi, vol. III, Ronra, 1963, p.215 qi urm.

5. Vezi: \(/. GUMPPENBERG, 5.1., Atlas Mari.anus, tr4tinchcr.r, 1672,vctl.III, p. 161,

nr. 354.

6. ... si trasporti l'lmmagine della Madonna all'Altar Maggiore, et si acccti I'oJJ'erta

deL Pittorc che rtuoi fire iL quadro. Documentul este ciiat dc JAFFE, ,,Pcter Paul
Rubcns and the Oratorian Fathers" p. 85 9i de INCISA DELLA ROCCFIETTA,

,,Documenti editi ed urediti", p. 162.

7. ...dannct a dipingerc, al detto stgnor Pietro ltaolo, t/ detto rlualro tlcl dct.to a/tar

tnaggior della detta lor chiesa, secondo iL disegno o sbozzo, mostl"LlLo loro dal tlcttct

signor Pietrct Itaolo, ne/ 11ual.c, da un /ato, sono Li Santi Martiri Papta e ,l[auro, dal-

I'altra, li Santi Nereo et Achilleo et L'LaiLia Dontitilla, in mezzct, San ()rcgorio Papa,

di sopra, la Madonn,z Santissinta, con mol.ti altri ornantcnti. Et, cornpito sari, rius-

c'endo a sodisJ'atnone di dctta loro Congregatione, subtto che da cluella sari ac-

(etLdto et appro'u.tto, i.nanzi che sia esposto in publico, t'are al detto signor lLietro
Paolo, itt recogttitione de lla chiesa, un donatilo... (vczi JAFFE,, ,,Pctcr Paul Rubcns
and The Oratorian Fathers" 9i INCISA DEI,LA ROCCHETTA, ,,Docunrenti

editi cd inediti").

8. La sacra o71aginc, rltlcord, dclla Madonna dc/la \/,tllrcella, cbc ",,a cotnnzessa dctttro
la sommttii del quadro tnto., non polil trdsportarsi pri.ma di_me zzo settentbre , che

Lrtlnfio tnsrcme, non potendosi scoprirc I'una senza !'altro; oltra che sara ncccss,tt io

cbc io ritocci la pittura mia al. luoco ittczzo, prina che scoprnla, (ome sus(1 di Jare.
Vczi: CH. RUELENS, Cctrre spctrtdance dc Rubens ct documcnts tpistr:,/,tircs con-

ccrnanL sa vie et ses elt'ures, publtis, traduits, dnnotis par Ch.Ruc/erzs, r'ol. I.

(16C0-1608), Anvers, l8ti7, pp. 35'1-355 si INCISA DELI-A I{OCCHET'|A,
,,I)ocumentr cditi cd incditi", pp. 167 16().

9. WARNKE,,,Italienische Bilcltabernakcl", pp. 77 -78.

10. \ilARNKL,,,,it;rlicnische Bilclt,rbernakcL", p. 713.

I l. \ilARNKE, ,,Italicnrsche Ilildt:rbcrnakcl", p. 62.

12. Vezi JAFFE, ,,Petcr I'aul Rubens and thc C)ratunau I'atlrcrs",li MUl.Ll-R HOF

STEI)E, ,,Zu l{ubens zwcitcm Aitarrverk", p. 5. t!

13. Legenda de Aur sublir.ria rolul Sfingilor Nereus, Achileus qr Donriti[lrr in cultr-rl Fe- 3:

cioarci 5i in lupta inrpotriva iclol;rtrier pigine. ll
14. Yczr HERZNITR, ,,Flonor refcrtur ad prototvp;r", p. t:h 5i urrr.

15. IlaperocosisciagurataLucesoprarluelAltare,cheapcnasipctttnotliscernere leJ'ig-

ilre non che godere /'esquisitczza del coloritct, c deLicatazza delle tcste c Vanni ca
Lrati con gran studiet del naturale . (CH. RUtsLHNS, Corrcspondance de Rubens,

vol. l, rrr. l0tt, 101). G.IJ. BAGLIONE, Le Vie de'pittorisotltoti et architetti...,

Ronra, 1642,, p.362 repeti arguurentul conditiiior necorcspunz.itoare clc ccLerrj.

16. Ycz.tJAIrFE, ,,Pctcr Paul Rubens anci the C)rirtoriarl Fathcrs", p.9l gi INCISA

DELLA ROCCHETTA, ,,1)ocuurenti t'diti ed inediti", p. l(r9. Sc cuvinc si ob-

332

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40. CALVIN, ()pera seLecta, p.401 9i urm.
41. QUINTILIAN, Inst. Orat., 8,6,23.
42. QUINTILIAN, [nsr. Orat., 8. 6, 24
43. QUINTILIAN, Insr. Orat.,8.6,4
44. CALVIN, Institution, p. 391. Pentru toati probler.na, vezt'. H. GOLL\(ITZER,

Cocna Dominl, Mrinchen, 1937.

45. CALVIN,Institution,p.3g6.Yezi qi: G. Ii. EVANS,,,Calvin on Signs: an Au-
gustinian L)ilernrna", Renaissance Studies, l/1 (1989), pp. 35-45.

46. CALVIN, Institution, p.4a2.

47. M(veazi ir:e.mVp/eeimraarr,eLr uAthusegraabgea,zvi oclo. nXsuXbIsItIa,ntt5ia7li,ta3t0e)a euharistici sub semnul sinecclocci 5,
{l
43. L. RICHEOME, L'idoLatrie buguenote, Lyon, 1608, p.451. (r
(r
49. Yez.i consideraliile lui BELTING , BiLd und Kult, pp. 511-545. pit:tora, Diz,iso in
50. 'frattato d'Arte delle Pittura di Gio. Paolo Lornazzo Milanese ():
V I I Libri, N e' quali si contiene tutta la Teoria e La Prattica d' ess,z pitt ura, Milarro,
71'
1584 (cdilia utilizati: G. P. LOMAZTO, Scritti sulle Arti, vol. II, ed. cle R.P. Ciardi,

Florelrla, 1973); Idea del tempro della [tittura di Gio. Paolo Lotnazz,t.t Pittore, nella

quale si discorre dell'origine e fondamento delLe cose contenute nel suo trattato del-
I'Arte della Pittura, Milano, 1590 (edilia utilizati este cea a lui R. Klcin, Idea...,

Florenla, 1974, voL I, text cu versiuue francezi, vol. II comentariu). Vezi qi R.

KLEIN, La J'orme et I'intelligible, Paris, D7A; G. M. ACKERMANN, Zle Srrrzc-
ture of Lomazzo's Treatise on Painting (tezi, Princeton, 1964), Ann Arbor, 196l;
MARILENA Z. CASSiMATIS, Zur Kunstthcoric dcs Malers Clbtanni-Paolo Lo'

mazzo, (1518-1600) (tezi, Miinchen, 1983), Frankfurt am Maiu, 1985; V. I. STOI-

CHITA, ,,Ars Ultima. Bemerkuugen zur Kurlsttheorie des Manierisrlus", iu: A.-

M. BONNET si G. KOPP-SCHMIDT (ed.), Kuztst ohne Geschichte? Ansichten
pp. 50 - 64., si R. WILLIAMS, ,4r,
und Ku.nstgescbichte hewte,Minchen, 1995, J7,1ly. lrom Techni to Metatechn1,
'I'heory, and Culture in Sixteenth-CenLurlt

Cambridge, 1997, pp. 123-185.

51. PAOLO ROSSI, Clavis (Jniaersalis. Arti mnemote cnicbe e Logica combinatoria da
Lulkt a Leibniz, Milano-Napoli, 1960; Fr. A. YATES,The Art oJ Memory,Lon-
dra, 1966; C, VASOLI, ,,Lc teoric dcl Delninio e dei I'atrizi e i trattatisti d'arte
fra '500 e '500", in: V. BRANCA/C. OSSOLA (ed.), CuLtura e societii nel Ri-

nascimento tra Riforme e Manieristni, Florenga, 1984.
52. G. CAMILLO (DELMINIO), Idea del'l'heatro (Florentra, 1550), in ID.,'futtc le

opere,Yenelr4 1552. Scrierea lui Canrillo este unica sursi reveudicati de Lot-uaz-

zo ilrsuqi: ... imitard in cib Giulio Camil/o ne lla idea del suo teatro, ancora che trop-

po umile e rozza sia questa mia a petto a quella f'abrica. (ldea, cap. X)
EYiagtier.srddireeajaluciitaGteiu) liGo .CSaTmAillBoI,LrE,e,zi()miualiioalcCsa(miniLalofadrietdtoe
Pentru personalitatea

scrierilc lui Rossi $i
Delntinio,in: Dizionario Biografico degLi ltaliant, vol. XVII, Roma, l9l4, p. 226

qi urrr.r. (cu bibliografie); FR. SECRET, ,,Les cheurinernents de la Kabbale i la Re-

naissance: Le Th6itre du Mondc de Giulio Carnillo", Riaista Critica di Storia de lLa
FtlosoJ'ia, XIV (1959), pp. 418-436; LINA BOLZONI: // teatro della memoria.
Studi su Giulio Camillo, Padova, 1984. Vezi si: U. ECO, I lintiti dell'interpre-

tazione, Milano, l9L)Q, pp. 56 70.
53. Vezi: R. BERNHEIMER, ,,Thcatrum Mur.rdi", The Art Bulletin, XXXVIII (i956),

p.228 gi urm.

54. CAMILLO,T'utte le ctpere,p. L4
ss. VASARi-MILANESI, vol.IV, p. 8.
56. Pentru concep(ia asupra istoriei artei la Vasari, vezi: J. ROUCHETTE, La Re-

naissance que nous a leguie Vasari,Parrs, i959, p. 73 gi urn.r.; Z. WAZBINSKI,

,,L'id6e de I'histoire dans la premibre et Ia scconde 6ditiou des "Vieso de Vasari",
in: Vasari storiografo e drtista. Atti del Congresso Internazionalc (1974), Floreula,

336

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Vezi: B. SCRIBNER, ,,Refonnation, Camival and the \World Turned Upside- 89.
9C.
Dowl", in: INGRID BATORI (cd.), Stiidtische Geselkchaft und Refonnatton,
91.
Stuttgart, 1980, pp. 238-24A. 92.
91,
59. lnterpretati de Speth-Holterl.roff ca Perseu eliberind-o pe Andromeda, ea a f ost 94.

identificati prin datele sale ternatice de VINNER, Die Quellen, p. 67 i;i urm. 95
60. Vezi: RIPA, I conologia, p. 574. 96

61. RIP A, I conologta, p. 233. 97
98.
62. Pentru rolul jucat de Hercule/Virtus in alegoriile picturii, vezi PIGLER, ,,Neid
und IJnwissenheit" Ei INEMIE GERARDS-NELISSEN, ,,Federigo Zuccaro and 10t.
tlre Lament of Painting", Simiolus, l3 (1983), pp. 43-53. 1Cl,
I Cl.
63. Vezi: R. B. TATE ,,Mythology ir.r Spanish Historiograph), of tl.re Middle Age and 1Ci

Ht.hcerkRuelniearis",saJnacher',buHcihspdaenricKRunestt,hieisuto, ri1s9c5b4e, nppS. a1m- 1m8;luGn.gBenRUinC.WK,ie,n,H, 1aabs(1b9u5rg3e),r als I C.l
pp.
t c5.
191-198; ROSA LOPEZ TORRIJOS, La mitologia en la pintura Espanola del
I C6.
Siglo de Oro, Madrid, 1985, p. 116 si umr. I C7.

64. Reiau aici ideile expuse in articolul rreu, ,,Cabinets d'Amateurs et sc6nario icolro* 1C8
claste", in: Actes du XXVIIe Congrds International d'Histoire de I'Art, Strasbourg,
tc9
l-7 Sept. 1989, vol. IV,,,Les iconoclassues", (ed. de S. Michalski), Strasbourg,

1992. pp. 17t-t92.

65. li datt.'rcz accasta obscrvatic Iui Didicr Marrens.

66. Yezt mai ales: K. ERTZ, Jan Bruegbel der Altere, pp. 332-348 et p. 611; J.

MUf.LER HOFSTEDE, ,,Non Satiratur Oculus Viiu - Zur "A1ieg6t1. 4.t

Gesichts" r'on Perer Paul Rubens und Jan Brueghel d. A.", in, H. VEKEMAN/ J.
MULLER HOFSTEDE (ed.), Wort und Bild in der niederlandischen Kunst uid

Literatwr des 16. und 17. Jabrhunderls, Erfstadt, 1984, pp. 243-289.
67. MULLER HOFSTEDE, ,,Non Saturatur Ocwlus Visu'1 , p.247 9i unr.r.

68. Iderrtificarea i se datoreazi lui MULLER HOFSTEDE, ,,Non Saturatur Oculus

Visu" , p.246.
69. SPETH-HOLTERHOFF, Les Peintres Flamands, p. 55.

70. MULLER HOFSTEDE, ,,Non Saturatur C)culus iisu", p.251.

71. Vczi ERTZ, Jan Brueghcl dcr Altere. p.345.
72. Ye-ziERTZ, Jan Brue gbel der Altcrc, p. 346 qi umr.
73. MULLER HOFSTEDE, ,,Non Saturatur Oculus Visu", p.252.

/4, YezrERTZ, Jan Brueghel der Alrere, p. 339.

75. Prezenla Bacanalelor este ul1 topos al galeriilor poetice (vezi, de exer.nplu, G. DE
SC_UDERY, Le Cabinet,pp. VA-VS s; CU. pEnnAULT, La Peintwie,pp.Tt)).

76. MULLER HOFSTEDE, ,,Non Saturattr.r Oculus Visu" , p. 279, n. 53.
77. Dictionnaire de I'Acaddmie lranqoise, s.z. COLLECTION.

78. FURETIERE, Dictionnaire, s.z. COLLECTION.

79. Dictionnaire de l'Acaddmie FranEoise, s.z. COLLIGER.

80. Vezi: M. CAHN, ,,Rarititenkabinette und Florilegien. Vom \Tissen des Sarnmlers

und einer nervcisen Lektijre", Tumult. Zeitschrift fi,ir Verkehrswissenschaft, 9

(1987), pp.4e-62.

81. BORROMAEUS, Musaewm, pp. l9-20.

82. MONTAIGNE, Essals, III, XIL

83. GRACIAN, El Critic6n, vol. II, pp. 109, 111 (vezi qi vol. I, p. 99).
84. FRANQOIS DE SALES,Intr\dwction h La rLie divote,in: (Luvres, Paris, 1969, p.

23. Povestea Glycerei si a lui Pausias se giseqte in Pliniu, Nat. Hist., XXV, 125.
85. E. BINET, Essay, p.268.

86. Aceeagi'idee este prezenti la VAN MANDER, Den Grondt der Edel Vry
Scbilder-const (1604), cap. XI, fol. 45v-r (stanqele 2-3). Edilie moderni de H.
Mieden.ra, lJtrecht, 1973, vol. 1, p.246 9i urm., vol. II (comentariu), p. 585.

87. PLINIU, Nat Hxt., XXV, 12s.

88. ERASMUS DIN ROTTERDAM, ElogiuL nebuniei, cap.64.

342

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11. Pcntrurlat,rrcsi(l()cunrcrltrlti.ricfr'rir(rarrL,it.rlrl,,u,r't'zraarrrrrn()tL\,1 r'e(l.iatet.r(lci\.
K.\\rtlFrlrl ()Cil.,qiB. llR()()Sinr,rt. r'',y1.'..ftthotnt'sVct'tttct'r, i()()(r,p|. l4C 145.
ll. \'czi P. SL,'fTt)\, l)ittt'r I)t'[],,t,t,1; ( ,'tilltit'l:dtti,,,t, ()rio1tl. 19S3. P. !)6 (ca

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lr \\', Il()I)l:, ,,[;ut Vcrnrccr untl Pitt.i .1.'Ilooclr els KoriliLrrlelrr('ir". l.thrbrttlt dt't
l{bttigltcl, l'tc:tszttcht;t litntl:,uttti;l:nr'.or, X\\tl (lltt), p 1 l
\'rLtltitns", Ip. -}i5 133.
:5 H. IiLJD()L.P{1,,, \1. PU'ISCHI:]i,,, lur

li. (.,\RSl L\Sl:\ BilLl lon \.cnreer irr nreJrzinisclr lris

tcrrisclrcr.siclrt", 1)czl-rihcs,lrztcbltrt .lrtzlichc Ilittcilurtiq<'n, f,3 (1971). pp. I 6.
\-czr 5i: Ir lil-ir'l I:Il.S\\',-\t{l), ,,\ tr))rrr. I-tL l,,r\\'ir lor r)q.It\ \'rltncsL)irrrl". /r-irir'
vhtsLirtrisk ridskrtf t, t.Vtl (l9ij8), pp.55 59.
\;rrr.rlecl ?,\ Prt,lrlenr in Rc.rlistic [itl-r]rscnt,ltr()r1",
27. SN. c'\';l lEliS.,,l)cscribccl or (1976), pp. lr-1i (aici p. i5 5i rrrnr.).

l,iru',rrt'[]tttol')', VIll
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2r. NANLl"i l. SAl.Ol\1()N, ,,\''ctirrcer rrt,l thc Il,rlartcc oi I)t'stirrr'", irt: 1:.i-',;.)-, rr
Northcrn Iittropc,tn Art Prcscntctl t,t L,.'l,crt ILrccrkrnnp ll1',qcnr,nn ott IIis \txti
9ii3, pp. : i(, ll i.
cth liirthtlt.t ,l)oomspijk, I .Juclgcrncnt end 'Iruth",

30. .f[I.,,(\]lASI, KI,1I'.-.Li-j-L. ,,Vernrccr, I]urltn,gtott ,\.1a.q,tzinc, 126

1rr I .

31. IJ. \\'/\'SS, lrau.cr der \,'ollcn,luztg. lon lcr Asthetik Llcs tlt'utsthcn Idt'altsntu: zur

Ktltrrhritih an tlcr l{ritlo'r;c', \'lirnchcn. l!)85, pp.9+ i:1.

32. Principalelc iucriri pc carc irrri int.'incit'z obscrr':rqiilc sunt: Nl. I'I\A7.,.\tultcs tit

.\e'"'ctrtt'tntl:-C)cnturt'ltnago.1,, crl. a i-,r. I{onr:r, 1961t \\'. S. Lll.(-KS(.llLIi1K.
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cratt", J,.turnal t,J tbe \\:arbur! t'tn(l (.t):!tttrir/l In:tttirta.\, .l I (1t6S). pp. l-i-] l.5J;
C.-l'. \(At{NCKl , Spre chcnde I}tltlcr .\'ichtl,dre \)'rrrt'. l)as l'iildt'ctttlrtthtis itr

de r lrirhcn \auzctt, \\'icsberlcn, l')Sl.
3.1. Vezr in s;rccial: 1r. Dfi JONCH, ,.1{6rrlisnre et r6alisnre .r[)p.rrcnt tlans l,r pcintLtrc
hcrll.rrrrlejsc du X\riIc sibclc", in: lieitt ,rtntlt t't sotr tori7,,t (c,rt. cxp.. Brr-r.relles.

197 I, pp. 113-19-5); II).,'l'ot laritt,g ctt i.'t'rtnaalt (cat. cxp.); .\LI'lrRS, I hc :\rr r,l
I)e stribing, pp. 129 - 23.{; K. ll.E\(lEIi, ,,Zur' ['otsc]runqsscschi.htc rl. r lJiltl,lcu
tut.ts iu rlcl h,rllandischen NIalelci", in: -1)rc S,prac'ht'dcr litldcr (cirt. cxp.,
Ilrr.rir's-i.,k, tc)7'), pp.3+-3u); L. IIRUSI:\{'1C7.,,,()n thc ['crccptiort ol Paintrnss
in -\\'lltll Ccnrr.rrr- lloilauti", bullctt.rt du ,11 uslc \attortal ,/c l'rzr'-',ri'rc, XXIIl
(1981), pp l-24; .J. ilIAl.OSTOCKt, ,,irinfachc Nacli,rluuurrs dcr Natur ()clcr svnr
bolrschc. \i,"cLtschtru? Zr.r clenr I)er,rtu;rcsprobLenr der irt,,ilirrrrlischcn Ilalcrei dcs 17.
.f al'rrlrrrndcrts", ZeitschriJt Jur ltunsLgcscl..it'hLe, 4/ (l9ll4), pp. 1l l-4lii; P.
HLCHT, ,,Thc l)cbatc on Svmbol and \lcaning in l)utclr Scvcntccutir-Ccrrturv
t,o,OCMorn'Irlu,olnlhSVeEnSru'"l,'lCS;nl(trNn)lu, sA, EldN(1'9lE86)I,Up\pD.El/N3, 187; GRlt(lOR
Art: :ru Appeai \Ihl{l3El:l)E\
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