Greetings David et al.:
My opinion is mine, and I welcome divergent opinions.
Naturally, "revisionism" is a subjective accusation against another
person's subjective interpretation of history when it is not in line
with one's own subjective interpretation of history. It's like a child
saying "poop on you" when s/he is unhappy with their playmates decision.
Yes, there are plenty of art historians who consider Leonardo "an artist
of primary significance." Good for them; however, respectfully, I
disagree. (Just imagine the academic back-peddling and economic
disaster that would befall museums (and spin off businesses) that depend
upon the continued evaluation of Leonardo as "an artist of primary
significance"!)
I blame nobody in particular for the over inflated value of the Mona
Lisa . . . But I feel no doubt in saying that in its current state of
exhibition the Mona Lisa is a waste of wall space. If the Louvre would
place it in proper context, surrounded by masterworks by his
contemporaries, with didactic signage -- AND actually prevented people
from snapping their camera flashes -- it might be worth seeing. Alas,
every time I've seen it, the experience has not been aesthetic, rather
anathema.
Regarding sfumato: I'll cast my vote for Correggio. As subjective a
judgment as any other art historian.
Regarding Leonardo's codices: The observational sketches (perhaps) place
Leonardo in the same category as John James Audubon, as a naturalist.
Yes, there is artistic value in rendering with attention to detail, but
Leonardo's intentions seem to have been -- based upon those copious
notes -- structural, not aesthetic.
Regarding Cellini: I welcome your opinion, David, that he is noted for
both his autobiography and his art. However, I invite you to peruse
available publications about Cellini, and see that few deal
substantively with his artwork; instead, there are a dozen editions of
his autobiography.
Regarding misspelling Samuel Pepys' name: I beg your forgiveness, Oh
Perfect Typist, for my occasional typographic error. Sadly, I'll never
be a perfect person. LOL!
Regarding why I included Pepys: His diaries are filled with invaluable
information about common day events in 17th century England. That their
content is trivial does not eliminate their usefulness . . . as a
footnote to more significant events that occurred and literature written
during the 17th century in England.
Hemingway . . . hmmmm. He was an author, so his writings are his life's
work. Pepys was a secretary to Edward Mountagu and, later, a
politician. So much hot air spoken, but few politicians are noted for
their literary accomplishments.
This is my thinking. I enjoy other opinions, and relish debate. :-)
Best wishes, sincerely,
Jay Heuman
Lone wolf? *chuckles*
David wrote:
> I'm afraid I can't agree with (or even understand) this revisionism.
> There are still plenty of art historians who consider Leonardo an
> artist of primary significance, despite his MINUSCULE painting
> output and his (justifiable) boasting, and I'd be interested in
> hearing about the artists who were "better capable" of such
> techniques as sfumato. Perhaps the iconic popularity of the
> "Mona Lisa" is over-inflated, but let's not blame him for that.
> And of course he also filled codex after codex with his writings,
> not to mention his superb drawings. What's this about his
> "ready access?"
>
> I'd say Cellini is noted for "both" his autobiography and his
> art, not "rather than" his art. And what's the point of the remark
> about the diarist and non-painter Samuel Pepys, to spell it correctly?
> Of course he would be a minor footnote without his diaries; one
> might as well say Hemingway would be a minor footnote without
> his novels and short stories.
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