The Disegno-CoJore Controversy Reconsidered Maurice Poirier One of the oldest and most basic subdivisions of painting in the English language is that of design and color. Few people today would seriously argue about the greater significance of one of these two components over the other. Most would agree that they are both important, that it is largely a matter of personal preference, and that in the end it all depends on the nature of the painting in question. In color-field painting, for instance, where the emphasis tends to be on color values and relationships, design proper by necessity often plays a secondary role. In Renaissance Italy the same subdivisiundisegno and colore-existed, but a great deal of discussion took place around the subject. This was the birth of art theory, and a keen interest in articulating how the two components stood in relation to one another eventually developed. The climax of this issue ca me in the mid-sixteenth century when Michelangelo and Titian were acknowledged by virtually all critics as the two greatest painters alive. The writings that have survived on the subject are important not only from the art theoretical viewpoint, but for shedding light on how painting
Explorations in Renaissance Culture – Brill
Published: Dec 2, 1987
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