<論文>"当代のゼウクシス" - 「1728年版ルカ・ジョルダーノ伝」におけるベルナルド・デ・ドミニチの批評戦略

Abstract

The Neapolitan painter Luca Giordano (1634-1705), active in the second half of the 17th century, acquired a reputation for his ability to imitate manners of various painters of 16-17 century. There are a number of biographers of Giordano, since the painter worked in many places. One of such writers is Bernardo de Dominici (1683-1759), the author of the Vite de' pittori, scultori, ed architetti napoletani. In fact, De Dominici's career as a biographer developed along with the Vita di Luca Giordano, as he wrote several versions of biographiy of Giordano from the mid-1720s to 1740s. This essay takes into consideration a particular biography of Giordano written by De Dominici; Vita del Cavaliere Don Luca Giordano, pittore napoletano, published in 1728. This version is especially known for its very peculiar circumstance of publication. It was actually included in the second edition of the Vite de pittori, scultori, et architetti moderni of Giovan Pietro Bellori, published in 1728 in Naples. The author of this added Vita was not announced at first, but it is revealed when the same Vita was reprinted in the Vite de' pittori, scultori, ed architetti napoletani later in 1745. However, the 1728 Vita and the 1745 Vita are not identical. For example, in the introductory part of the 1728 Vita, the author celebrates Giordano's ability to imitate using an analogy from Zeuxis, an ancient Greek painter who was also known for his artful imitation. This part was omitted in the 1745 Vita. Pinto has pointed out that De Dominici approached 17th century art theory of eclecticism, paying attention to the 1728 Vita was included anonymously in the second edition of Bellori's work. This essay investigates how De Dominici exalted Giordano in the aesthetic framework of Bellori, as De Dominici in 1728 based his argument on Bellori's another written work, Idea. The discussion proceeds as follows: first, circumstances for each of De Dominici's biographies of Giordano are clarified. Next, it is claimed that Bellori's work is referred in the 1728 Vita by consulting three points in particular: anecdote of Zeuxis, idea of canonical model, and analogy with Raphael. Finally, it is revealed that De Dominici's evaluation on Giordano's works depends on the critical image of Giordano awkwardly created by citing Bellori's discussion. Through these analyses, transition and its meaning of De Dominici's evaluation on Giordano's works are traced, and it contributes to the study of the critical history of Giordano, as well as study of biographies written in the Baroque era.