The fictional survival of painters : an implicit sociology of creation

Painting the "Triumph of Death" at Pisa's Camposanto , Buffalmacco too "crossed the fear", converting downgrading into "expressionist slingshot". But it is primarily as a character of the novellistica that we have attempted to approach him in this lesson, hypothesizing that the fictional survival of painters in the short stories of the ^14th and ^15th centuries makes it possible to approach, from an angle, this sociology of creation that eluded the historian in the frontal analysis of the authors. The serial study of the painter's craft in the short stories - right up to Vasari, whose Vites are placed here in this literary tradition - shifts the investigation to the question of individuation and the implicit sociology of relationships to the body, appearances and working time. This leads to an analysis of the workings of the art-world brigata in La Novella del Grasso Legnaiuolo. But in this case, the literary fable guarantees the truth of a Vita (Brunelleschi's by Antonio Manetti).

Contents

• "The fresco has fallen in this place, and I would be no more than a flat novelist [...] if I undertook to make up for it" (Stendhal, The Life of Henry Brulard)
• The "Triumph of Death" at Pisa's Camposanto , a "lesson in darkness"
• Buffalmacco, the rediscovered author: a character before a creator (Luciano Bellosi)
• De l'art de convertir un déclassement en " fronde expressionniste " (Enrico Castelnuovo and Carlo Ginzburg, "Domination symbolique et géographie artistique dans l'histoire de l'art italien", Actes de la recherche en science sociale, 1981)
• "Traverser l'effroi", in reverse: we see not so much the "feeling of guilt" after 1348 (Millard Meiss) as "generalized inculpation" (Pierre Legendre)
• Satan's kingdom and Dante'sInferno : when human justice anticipates the Last Judgment (Jérôme Baschet, Les justices de l'au-delà, Rome, 1993)
• Three contemporaries, Buffalmacco, Lorenzetti and Villani: the timor and "L'angoscia delle repubbliche" (Andrea Zorzi)
• The lord is mortal, lordship is neither certain, fatal nor definitive: Castruccio Castacani among the handsome young men struck by the grim reaper
• Fictional memory, historical oblivion: when one memory replaces another
• Buffalmacco and Bruno, "inseparable companions"(Decameron, VIII, 9) versus Calandrino, "a simple, whimsical fellow" (Decameron, VIII, 3)
• " Buonamico, son of Cristofano, known as Buffalmacco, a Florentine painter and pupil of Andrea Tafi, owes his fame as a good joke to Boccaccio's Decameron " (Giorgio Vasari, Le Vite..., 1568)
• Vasari novelliere and Vincenzo Borghini: "according to what Franco Sacchetti tells us"
• Guido Tarlati and his monkey: the imitator imitated, the inversion of signs
• Buffalmacco's Massacre of the Innocents, or transubstantiation through painting (Norman Land, Renaissance Quarterly, 2005)
• Reading Vasari's Vites as a literary text to restore its capacity for social description (Paul Barolsky, Why Mona Lisa Smiles and Other Tales by Vasari, 1993)
• Shifting the inquiry to individuation and implicit sociology (Jacques Dubois, Le roman de Gilberte Swann. Proust sociologue paradoxal, 2018)
• The exercise of professions in the novellistica : Sacchetti's worker Agnolo and Sercambi's brickmaker Grillo
• A Buffalmacco burla : the painter and his noisy neighbors in Trecentonovelle
• "Buonamicco was a self-employed painter, eager to sleep or watch, choosing his own time, for he intended to practice his art, now that he was his own master, differently from when he was a disciple, under the orders of others."
• Leonardo da Vinci's creative idleness from Matteo Bandello's Novelle
• Giotto beffatore : "For sure, I'll make him weapons in my own way" (Sacchetti, novella 63)
• The painter, the judge, the storm: a washing away of appearances(Decameron, VI, 5)
• "Il novelliere "en artiste" (Marcello Ciccuto): making truth visible through the ordered telling of a storia
• La Novella del Grasso Legnaiuolo, or the artists' brigata
• Who is the Fat Man? The historical consistency of a fictional success story
• Grasso 's madness and Brunelleschi's triumph
• "You wish, Girolamo, to know about the Filippo who played this prank on Grasso, because you admire him so much when I tell you it's a true story": Antonio Manetti and Brunelleschi's biography (1485)
• When literary fable guarantees the truthfulness of a Vita: "so that you read the news as a true story and not as one of those tales that abound"
• News of tyranny: "The ideal subject of totalitarian domination is neither the convinced Nazi nor the convinced Communist, but people for whom the distinction between fact and fiction (i.e., the reality of experience) and the distinction between truth and falsity (i.e., the norms of thought) no longer exist" (Hannah Arendt, The Totalitarian System, 1951)