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Story and Space in Renaissance Art. The Rebirth of Continuous Narrative (review)

Story and Space in Renaissance Art. The Rebirth of Continuous Narrative (review) Short Notices Andrews, Lew, Story and Space in Renaissance Art. The Rebirth of Continuous Narrative, Cambridge, Cambridge University Press, 1998; paper; pp. 188; 22 b/w illustrations; R R P $33.95; I S B N 0521646634. Theoretical questions relating to the compatibility of the rational organis of space m a d e possible by the adoption of single-point perspective, and the depiction of a number of episodes sometimes with the same actors, but necessarily occurring at different times, have frequently been enmeshed with arguments relating to the paragone concerning the relative merits of painting, and poetry and music. Professor L e w Andrews takes as his starting point for his examination of the role of continuous narrative in Quattrocento painting what he calls 'the standard view' which was most authoritatively stated in 1766 by Gotthold Lessing in Laocoon, his study on the limits of painting and poetry: 'It is an intrusion of the painter into the domain of the poet, which good taste can never sanction, when the painter combines in one and the same picture two points necessarily separate in time' (p. 20). Yet this w a s not evidently the position held in the Quattrocento. Even Leonardo, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Parergon Australian & New Zealand Association of Medieval & Early Modern Studies, Inc. (ANAZAMEMS, Inc.)

Story and Space in Renaissance Art. The Rebirth of Continuous Narrative (review)

McLellan, Dugald.
Parergon , Volume 18 (2) – Apr 3, 2001
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Publisher
Australian & New Zealand Association of Medieval & Early Modern Studies, Inc. (ANAZAMEMS, Inc.)
Copyright
Copyright © The author
ISSN
1832-8334
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Abstract

Short Notices Andrews, Lew, Story and Space in Renaissance Art. The Rebirth of Continuous Narrative, Cambridge, Cambridge University Press, 1998; paper; pp. 188; 22 b/w illustrations; R R P $33.95; I S B N 0521646634. Theoretical questions relating to the compatibility of the rational organis of space m a d e possible by the adoption of single-point perspective, and the depiction of a number of episodes sometimes with the same actors, but necessarily occurring at different times, have frequently been enmeshed with arguments relating to the paragone concerning the relative merits of painting, and poetry and music. Professor L e w Andrews takes as his starting point for his examination of the role of continuous narrative in Quattrocento painting what he calls 'the standard view' which was most authoritatively stated in 1766 by Gotthold Lessing in Laocoon, his study on the limits of painting and poetry: 'It is an intrusion of the painter into the domain of the poet, which good taste can never sanction, when the painter combines in one and the same picture two points necessarily separate in time' (p. 20). Yet this w a s not evidently the position held in the Quattrocento. Even Leonardo,

Journal

Parergon – Australian & New Zealand Association of Medieval & Early Modern Studies, Inc. (ANAZAMEMS, Inc.)

Published: Apr 3, 2001

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