The Fabrication of Leonardo da Vinci’s Trattato della pittura (2 vols.)

With a Scholarly Edition of the Italian editio princeps (1651) and an Annotated English Translation

Series:

The basis for our understanding of Leonardo’s theory of art was, for over 150 years, his Treatise on Painting, which was issued in 1651 in Italian and French. This present volume offers both the first scholarly edition of the Italian editio princeps as well as the first complete English translation of this seminal work. In addition, It provides a comprehensive study of the Italian first edition, documenting how each editorial campaign that lead to it produced a different understanding of the artist’s theory. What emerges is a rich cultural and textual history that foregrounds the transmission of artisanal knowledge from Leonardo’s workshop in the Duchy of Milan to Carlo Borromeo’s Milan, Cosimo I de’ Medici’s Florence, Urban VIII’s Rome, and Louis XIV’s Paris.
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Biographical Note

Claire Farago (Ph.D., 1988) is Professor of Renaissance Art, Theory, and Criticism at the University of Colorado Boulder. Her books include Leonardo da Vinci’s Paragone (1992); Reframing the Renaissance: Visual Culture in Europe and Latin America, 1450-1650 (1995); Leonardo da Vinci: Selected Scholarship in English, 5 vols. (1999); Leonardo da Vinci and the Ethics of Style (2008); Re-Reading Leonardo: The Treatise on Painting across Europe 1550-1900 (2009); and Art Is Not What You Think It Is, co-authored with Donald Preziosi (2012).

Janis Bell (Ph.D., 1983) is an independent scholar. She has published widely on early modern art and art theory, particularly on Leonardo da Vinci, Matteo Zaccolini, Raphael, Caravaggio, Cassiano dal Pozzo, and on the legacy of ancient and medieval optical theory. She is contributing co-editor (with Thomas Willette) of Art History in the Age of Bellori (2002).

Carlo Vecce (Ph.D., 1986) is Professor of Italian Studies at the University of Naples “L’Orientale.” He is a widely published scholar of Italian literature and Renaissance culture. He is co-author of the critical edition of Leonardo’s Book on Painting (1995); editor of the Codex Arundel (1998); and author of a biography of Leonardo (1998; rev. ed. 2006), which has been translated into several languages.

Table of contents

Volume 1

List of Illustrations

Foreword
Martin Kemp

Preface and Acknowledgments

List of Manuscript Abbreviations

List of Frequently Cited Sources

Introduction: Defining a Historical Approach to Leonardo’s Trattato della pittura
Claire Farago

MILAN
1. Before the Trattato: Philological Notes on the Libro di pittura in the Codex Urbinas 1270
Carlo Vecce

2. Leonardo’s Workshop Procedures and the Trattato della pittura
Claire Farago
Introduction
Part One: The Optics of Painting in Leonardo’s Workshop and the Trattato
Part Two: The Training of the Artist and the Trattato
Part Three: The Mechanics of Human Movement in the Trattato

3. Leonardo’s Lost Book on Painting and Human Movements
Matthew Landrus

URBINO
4. On the Origins of the Trattato and the Earliest Reception of the Libro di pittura
Claire Farago

FLORENCE
5. The Earliest Abridged Copies of the Libro di pittura in Florence
Anna Sconza

ROME TO PARIS
6. Seventeenth-Century Transformations: Cassiano dal Pozzo’s Manuscript Copy of the Abridged Libro di pittura Treatise on Painting
Juliana Barone

7. The Final Text
Janis Bell
Part One: Raphaël Trichet du Fresne as Textual Editor
Part Two: Charles Errard and the Illustrations

In Appendice
The Visual Imagery of the Printed Editions of Leonardo’s Treatise on Painting
Mario Valentino Guffanti


Volume 2

Text of the Trattato della pittura

Editorial Procedures
Introduction: Claire Farago and Janis Bell
Editorial Criteria for the Transcription: Maria Rascaglia
Establishing the Text of 1651: Claire Farago and Janis Bell
Abbreviations Used in the Critical Apparatus

Table of Contents of Trattato Chapters

Transcription with Critical Apparatus: Carlo Vecce, Maria Rascaglia, and
Anna Sconza
English Translation: Janis Bell and Claire Farago

Reader’s Notes
Introduction: Janis Bell
Reader’s Notes by Chapter: Janis Bell and Claire Farago
Sources Cited in the Reader’s Notes
Primary Sources
Secondary Sources

In appendice
A. Brooker 1: Janis Bell
B. MS A, LdP, and ITAL 1651: Claire Farago
C. Organization of the Trattato della pittura: Claire Farago
D. Omissions, Trattato and LdP: Claire Farago
E. Variants in the Early Florentine Manuscripts: Anna Sconza
F. Leonardo’s Library: Claire Farago

Readership

All interested in Leonardo da Vinci, art academies, artisanal epistemologies, Early Modern art theory, the concept of art, intellectual history, Italian studies, cultural exchange within Europe and in the Mediterranean.

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