Haciendo conocimiento experto a través de la imagen
conexiones entre ilustraciones anticuaristas e ilustraciones científicas modernas
DOI:
https://doi.org/10.31239/vtg.v18i2.53588Palabras clave:
ilustraciones científicas, arqueología de las representaciones, historia de la cienciaResumen
Este artículo investiga dibujos de antigüedades en el contexto de la historia de la ilustración científica moderna temprana. Se evalúa el rol de las ilustraciones en el establecimiento de la arqueología como disciplina y se muestra que el surgimiento de un estilo gráfico para representar artefactos está estrechamente relacionado con el desarrollo de la ilustración científica en el siglo XVII y principios del XVIII. Este artículo sostiene que la producción de dibujos convencionalizados de antigüedades durante este período representa un cambio fundamental en el enfoque de la cultura material antigua, lo que significa el reconocimiento de los objetos como evidencia. Como se ha demostrado en otros campos científicos, la creación de un sistema visual para registrar objetos fue fundamental para la aceptación de los artefactos como “datos”, que podían ser organizados en grupos, clasificados como tipos y analizados para obtener conocimiento del pasado.
Descargas
Citas
Accordi, B. (1876). Contributions to the history of geological science: illustrators of the Kircher Museum Naturalist Collections. Geologica Roma, 15, 113-126.
Allmon, W. D. (2007). The evolution of accuracy in natural history illustration: reversal of printed illustrations of snails and crabs in Pre-Linnaean works suggests indifference to morphological detail. Archives of Natural History, 34, 174-191.
Baigrie, B. (2006). Picturing knowledge. Toronto: University Toronto Press.
Bailey, D. (1992). Small objects in the dal Pozzo–Albani drawings: first gatherings. Em Jenkins, I. D. (ed.). Cassiano dal Pozzo’s Paper Museum, pp. 3-20. Olivetti: Milan.
Blum, A. S. (1993). Picturing nature: American nineteenth-century zoological illustration. Princeton: Princeton University Press.
Boch, J. (2004). L’archéologie comme projet esthétique: Le Recueil d'Antiquités du Comte de Caylus. Em Cronk, N., & Peeters, K. (eds.). Le Comte de Caylus, pp. 79-94. New York: Rodopi.
Bonanni, F. (1709). Musaeum Kircherianum, sive Musaeum a P. A. Kirchero in Collegio Romano Societatis Jesu. Rome.
Bruhn, M. (2011). Life lines: an art history of biographical research around 1800. Studies in history and philosophy of biological and biomedical sciences, 42, 368-380.
Cassiano dal Pozzo to Rienhold Dehn (1654). Carteggio dal Pozzo, MS XII (10), fol. 75v. 15 Nov. Biblioteca dell Accademia Nazionale dei Lincei e Corsiniana.
Caylus, A. C. P. comte de. (1752–1757). Recueil d'antiquités Égyptiennes, Étrusques, Grecques, Romaines et Gauloises. 7 vols. Paris: Chez Desaint & Saillant.
Claridge, A., & Jenkins, I. (1993). Cassiano and the tradition of drawing from the antique. Em British Museum, Paper Museum of Cassiano dal Pozzo, pp. 13-26.
Coffin, D. R. (2004). Pirro Ligorio: The Renaissance artist, architect, and antiquarian. University Park: Pennsylvania State University Press.
Cropper, E. (1992). Introduction. Em Cropper, E., Perini, G., & Solinas, F. Documentary culture: Florence and Rome from Grand-Duke Ferdinand I to Pope Alexander VII, pp. 7-21. Bologna: Nuova Alfa.
Daston, L., & Galison, P. (2010). Objectivity. New York: Zone.
Décultot, E. (2010). Musées de papier: Recueils d’antiquités et recherches antiquaires 1650–1780. Paris: Muse du Louvre Editions/Gourcuff/Gradenigo.
Delaune, C. F. et al. (1719–1724). Bernarde Montfaucon. L'Antiquité expliquée et représentée en figures, 15 vols. Paris.
Dupré, S., & Lüthy, C. (eds.). (2011). Silent messengers: the circulation of material objects of knowledge in the Early Modern Low Countries. Berlin: LIT.
Effros, B. (2011). Writing history from manuscript and artifact: building an object-based narrative of the Early Middle Ages in eighteenth- and nineteenth-century France. Em Kell. H. A. (ed.). Medieval manuscripts, their makers and users, pp. 133-150. Turnhout: Brepols.
Ellenius, A. (ed.) (1985). The natural sciences and the arts: aspects of interaction from the Renaissance to the twentieth century. Uppsala: Almqvist & Wiksell.
Fejfer, J., Fischer-Hansen, T., & Rathje, A. (eds.). (2003). The rediscovery of antiquity: the role of the artist. Copenhagen: University Copenhagen, Museum Tusculanum Press.
Findlen, P. (1994). Possessing nature: museums, collecting, and scientific culture in Early Modern Italy. Berkeley: University California Press.
Ford, B. (1993). History of scientific illustration. Oxford: Oxford University Press.
Freedberg, D. (2002). The eye of the lynx: Galileo, his friends, and the beginnings of modern natural history. Chicago: University Chicago Press.
Freedberg, D. (1993). Cassiano and the art of natural history. Quaderni Puteani, 4, 141-222.
Fumaroli, M. (1995). Le comte de Caylus et l’Académie des Inscriptions. Comptes-Rendus des Séances de l'Académie des Inscriptions et Belles-Lettres, 139(1), 225-250.
Goodrum, M. R. (2002). The meaning of ‘Ceraunia’: archaeology, natural history, and the interpretation of prehistoric stone artifacts in the eighteenth century. British Journal for the History of Science, 35, 255-269.
Givens, J. A., Reeds, K. M., & Touwaide, A. (eds.). (2006). Visualising Medieval medicine and natural history, 1200–1550. Aldershot: Ashgate.
Guillerme, J. (1983). Caylus technologue: note sur les commencements problématiques d’une discipline. Revue de l’Art, 60, 47-50.
Haskell, F. (1993). History and its images. New Haven: Yale University Press.
Haskell, F. (1993). Introduction. Em British Museum, The Paper Museum of Cassiano dal Pozzo, pp. 1-10. Rome: Olivetti.
Herklotz, I. (1992). Das Museo Cartaceo des Cassiano Dal Pozzo und seine Stellung in der antiquarischen Wissenschaft des 17. Jahrhunderts. Em Cropper, E., Perini, G., & Solinas, F. Documentary Culture: Florence and Rome from Grand-Duke Ferdinand I to Pope Alexander VII, pp. 81-107. Bologna: Nuova Alfa.
Herklotz, I. (1999). Cassiano dal Pozzo Und die Archäologie des 17. Jahrhunderts. Munich: Hirmer.
Hurley, C. (2000). The vagaries of artbook publishing: Bernard de Montfaucon (1660 –1741) and His Subscription Enterprises. Georges Bloch Jahrbuch des Kunsthistorischen Instituts der Universität Zürich, 7, 84-95.
Jacks, p. (1993). The antiquarian and the myth of antiquity: the origins of Rome in Renaissance thought. Cambridge: Cambridge University Press.
Jones, C. A., & Galison, P. (eds.) (1998). Picturing science, producing art. New York: Routledge.
Kemp, M. (2000). Visualizations: the “nature” book of art and science. Berkeley: University California Press.
Kusukawa, S. (1997). Leonhart Fuchs on the importance of pictures. Journal of the History of Ideas, 58, 403-427.
Kusukawa, S. (2011). The role of images in the development of Renaissance natural history. Arch. Nat. Hist., 38, 189-213.
Kusukawa, S. (2012). Picturing the book of nature: image, text, and argument in sixteenth-century human anatomy and medical botany. Chicago: University Chicago Press.
Lefevre, W., Renn, J., & Schoepflin, U. (eds.). (2003). The power of images in Early Modern science. Basel: Birkhäuser.
Lopes, D. (1996). Understanding pictures. Oxford: Oxford University Press.
Lopes, D. (2005). Sight and sensibility: evaluating pictures. Oxford: Oxford University Press.
Lopes, D. (2009). Drawing in a social science: lithic illustration. Perspectives on Science, 17, 5-25.
Lugli, A. (1986). Inquiry as collection: The Athanasius Kircher Museum in Rome. Anthropology and Aesthetics, 12, 109-124.
Lüthy, C., & Smets, A. (2009). Words, lines, diagrams, images: towards a history of scientific imagery. Early Science and Medicine, 14, 398-439.
Lynch, M., & Woolgar, S. (eds.). (1990). Representation in scientific practice. Cambridge: MIT Press.
O’Malley, T., & Meyers, A. R. W. (2008). The art of natural history: illustrated treatises and botanical paintings, 1400–1850. New Haven: Yale University Press.
Mazzolini, R. (1993). Non- verbal communication in science prior to 1900. Florence: Olschki.
Meijers, D. J. (2005). The paper museum as a genre: the corpus of drawings in St. Petersburg within a European perspective. Em Kistemaker, R. E. (ed.). The Paper Museum of the Academy of Sciences in St. Petersburg, c. 1725–1760, pp. 19-24. Amsterdam: Royal Netherlands Academy of Arts and Sciences.
Miller, P. N. (2012). Major trends in European antiquarianism, Petrarch to Peiresc. Em Rabasa, J., Sato, M., Tortarolo, E., & Woolf, D. (eds.). The Oxford history of historical writing, 1400–1800, pp. 244–260. Oxford: Oxford University Press.
Montfaucon, B. de. (1712). The travels of the learned Father Montfaucon from Paris thro’ Italy, 1698, 1699, 1700. Trans. E. Curll. London.
Montfaucon, B. de. (1721–1725). Antiquity explained and represented in sculptures. Foi traduzido pelo clérigo britânico David Humphreys e publicado em cinco volumes com um suplemento. London: J. Tonson and J. Watts.
Moser, S. (1998). Ancestral images: the iconography of human origins. Ithaca: Cornell University Press.
Moser, S. (2006). Wondrous curiosities: Ancient Egypt at the British Museum. Chicago: University Chicago Press.
Myrone, M. (1999). Graphic antiquarianism in eighteenth-century Britain: the career and reputation of George Vertue (1684 –1756). Em Myrone, M., & Peltz, L. (eds.). Producing the past: aspects of antiquarian culture and practice, pp. 35-54. Aldershot: Ashgate.
Nickelsen, K. (2006). Draughtsmen, botanists, and nature: the construction of eighteenth-century botanical illustrations. Dordrecht: Springer.
Nisard, C. (1877). Correspondance inédite du comte de Caylus avec le P. Paciaudi, théatin (1757–1765): Suivie de celles de l’abbé Barthélemy et de P. Mariette avec le même, vol. 1. Paris.
Ogilvie, V. W. (2006). The science of describing: natural history in Renaissance Europe. Chicago: University Chicago Press.
Palma Venetucci, B. (2003). Pirro Ligorio and the rediscovery of antiquity. Em Fejfer, J., Fischer-Hansen, T., & Rathje, A. (eds.). The rediscovery of antiquity: the role of the artist, pp. 63- 88. Copenhagen: University Copenhagen, Museum Tusculanum Press.
Piggott, S. (1978). Antiquity depicted: aspects of archaeological illustration. New York: Thames & Hudson.
Papy, J. (2004). An antiquarian scholar between text and image? Justus Lipsius, humanist education, and the visualization of Ancient Rome. Sixteenth Century Journal, 35, 97-131.
Pomata, G., & Siraisi, N. G. (eds.) (1995). Historia: empiricism and erudition in Early Modern Europe. Cambridge, Mass.: MIT Press.
Ridley, R. T. (1992). A pioneer art-historian and archaeologist of the eighteenth century: The Comte de Caylus and his recueil. Storia dell’Arte, 76, 362-375.
Roberts, K. B., & Tomlinson, J. D. W. (1992). The fabric of the body: European traditions of anatomical illustration. Oxford: Clarendon.
Russell, S. (2007). Pirro Ligorio, Cassiano Dal Pozzo, and the Republic of letters. Papers of the British School at Rome, 75, 239-274.
Saunders, G. (2009). Picturing plants: an analytical history of botanical illustration. Chicago: KWS.
Schnapp, A. (1996). The discovery of the past: the origins of archaeology. London: British Museum Press.
Smiles, S. (1994). The image of antiquity: Ancient Britain and the romantic imagination. New Haven: Yale University Press.
Smiles, S. (2013). Imaging British history: patriotism, professional arts practice, and the quest for precision. Em Bonde, S., & Houston, S. (eds.). Re-presenting the past: archaeology through text and image (pp. 9-20). Oxford: Oxbow.
Smith, P. H. (2006). The body of the artisan: art and experience in the scientific revolution. Chicago: University Chicago Press.
Smith, P. H., & Findlen, P. (eds.). (2002). Merchants and marvels: commerce, science, and art in Early Modern Europe. New York: Routledge.
Smith, P. H., & Schmidt, B. (eds.). (2007). Making knowledge in Early Modern Europe: practices, objects, and texts, 1400–1800. Chicago: University Chicago Press.
Solinas, F. (1993). Other sources of drawings in the Paper Museum. British Museum, Paper Museum of Cassiano dal Pozzo, 225-242. Rome: Olivetti.
Turner, N. (1993). Some of the copyists after the antique employed by Cassiano. Em British Museum, Paper Museum of Cassiano dal Pozzo, pp. 27-37. Rome: Olivetti.
Vermeule, C. (1958). Aspects of scientific archaeology in the seventeenth century. Proceedings of the American Philosophical Society, 102, 193-214.
Vaiani, E. (ed.). (sem data). The Antichità Diverse Album: The Paper Museum of Cassiano Dal Pozzo, serie A, 5. London: Royal Collection Publications.
Vaiani, E. (2001). L’Antiquité expliquée di Bernard de Montfaucon: Metodi e strumenti dell’antiquaria settecentesca. Em Vaiani, E. (ed.). Dell’antiquaria e dei suoi metodi, pp. 155-176. Pisa: Scuola Normale Superiore.
Waddell, M. A. (2010). A theater of the unseen: Athanasius Kircher’s Museum in Rome. Em Kavey, A. B. (ed.). World-building and the Early Modern imagination, pp. 67-90. Basingstoke: Palgrave Macmillan.
Weiss, R. (1988). The Renaissance discovery of Classical Antiquity. Oxford: Blackwell.
Zwijnenberg, R., & van de Vall, R. ( eds.). (2009). The body within: art, medicine, and visualization. Leiden: Brill.
Zytaruk, M. (2011). Cabinets of curiosities and the organization of knowledge. University of Toronto Quarterly, 80(1), 1-23.
Descargas
Publicado
Cómo citar
Número
Sección
Licencia
Derechos de autor 2024 Stephanie Moser
Esta obra está bajo una licencia internacional Creative Commons Atribución-NoComercial 4.0.
O trabalho Vestígios - Revista Latino-Americana de Arqueologia Histórica de https://periodicos.ufmg.br/index.php/vestigios/index está licenciado com uma Licença Creative Commons - Atribuição-NãoComercial 4.0 Internacional.
Baseado no trabalho disponível em https://periodicos.ufmg.br/index.php/vestigios/index.
Podem estar disponíveis autorizações adicionais às concedidas no âmbito desta licença em https://periodicos.ufmg.br/index.php/vestigios/index.
