173 griegos concieptos un gusto tan mirable la eunusta de los colores nostra edad resta non digo a corejerlos como an echo mis padres Grieg
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1 エル グレコと 彼 の 父 祖 たちの 芸 術 松 井 美 智 子 , mis padres esto sobreescrito es de Federico y basta Xavier de Salas,Un exemplaire des Vies de Vasari annoté par Le Greco, Gazette des Baux - Arts, 1967, LXIX, pp
2 173 griegos concieptos un gusto tan mirable la eunusta de los colores nostra edad resta non digo a corejerlos como an echo mis padres Griegos a los egiptios seno a ymitarlos paresse deficile donde pues se a visto concieptos yn esta nuestra edad que los Antigos nunqua dieron yn ello Micael Angelo tuvo un gusto tan mirable quel nunqua se vio yn hotro scultor e con que palabras se potrebe dezir la eunusta de los colores de Titiano. Fernando Marías/ Agustín Bustamante García, Las ideas artísticas de El Greco, Madrid, 1981, pp , , esp.134. I dieci libri dell architettura di M.Vitruvio tradutti et commentate da Monsignor Barbaro eletto Patriarca d Aquileggia, Venecia, 1556, IV, vii, p Fernando Marías, El Greco y los usos de la antigüedad clásica, in La Visión del Mundo Clásico en el Arte Español, Jornada de Arte, 1993, pp
3 Fernando Marías, El Greco y el arte de su tiempo : las notas de El Greco a Vasari, Toledo, 1992, p. 75. Vasari, Le Vite..., 2nd.ed., Firenze, 1568 Vasari - Giunti I, p. 69. ; Vasari - Milanesi, Le Vite..., I, p p E. 48 pp , esp. p. 39. E. Panofsky, Renaissance and Renascences in Western Art, Stockholm, Fernando Marías, op. cit., p. 80. Vasari - Giunti, II, Proemio p. 5. 3
4 V / P L P leggiedria G. 1 1 R. /P. Eliana Carrara, Giovannni Battista Adriani and the drafting of the second edition of the Vite, Journal of Art Historiography, n. 5, December, 2011, pp Giorgio Vasari, Le Vite..., ed. R.Bettarini/F.Barocchi, Firenze, v. 1, p P. Lee Rubin, Giorgio Vasari : Art and Hitory, New Haven and London, 1995, pp Robert Williams, Art, Theory, and Culture in Sixteenth Century Italy, Cambridge, 1997, pp K. E Le Vite..., ed. K.Frey, München, 1911, p Eliana Carrara, op.cit., pp Sarah B. McHam, Pliny and the Artistic Culture of the Italian Renaissance : the Legacy of the Natural History, New Haven and London, 2013, pp : no. 13, 2007 pp Fernando Marías, op.cit., p. 95. Vasari - Giunti, III, p. 7. ; Vasari - Milanesi, I, p Sarah B. McHam, op.cit., p. 345,
5 Fernando Marías, op.cit.,p.96. Vasari - Giunti, III, p. 7. ; Vasari - Milanesi, I, p Ibid. Vasari - Giunti, III, p. 9. ; Vasari - Milanesi, I, pp Ibid. Vasari - Giunti, III, p. 9. ; Vasari - Milanes, I, p Sarah B. McHam, op.cit., p. 324, Fernando Marías, op.cit., p. 96. Vasari - Giunti, III, p. 9. ; Vasari - Milanesi, I, p Pintor florentino que... al roves de lo de letr... griego que no abia de pasae dia sinlin ea Vasari - Giunti, II, p. 37 ; Vasari - Milanesi, IV, pp p S.B. Sarah B. McHam, op.cit., p. 323, Fernando Marías, op.cit.,p. 96. Vasari - Giunti, III, p. 9 ; Vasari - Milanesi, I, p
6 Ibid. Vasari - Giunti, III, p. 9. ; Vasari - Milanesi, I, p Sarah B. McHam, op.cit., pp , Fernando Marías, op.cit., p. 96. Vasari - Giunti, III, p.9. ; Vasari - Milanesi, I, p Fernando Marías op.cit., p.80. Vasari - Giunti, III, p ; Vasari - Milanes, VII, p la giusta remunerazione como yzo el que no pudo decir que no sia stato el mas rico de quantos a bido en Nuestra era Fernando Marías, op.cit., pp. 80, 126. Vasari - Giunti, II, Proemio. ; Vasari - Milanesi, IV, pp p Fernando Marías, op.cit., p. 96. Vasari - Giunti, III, p. 9 ; Vasari - Milanesi, I, p
7 un color bruno, o vernice Lysippo Lysippoo Vasari - Milanesi, I, pp Fernando Marías, op.cit., p. 96. Vasari - Giunti, III, p. 9. ; Vasari - Milanesi, I, pp p Ibid. Vasari - Giunti, III, p. 9. ; Vasari - Milanesi, I, p Fernando Marías, op.cit., pp. 96, 129. Vasari - Giunti, III, p. 25. ; Vasari - Milanesi, I, p. 62. Lyssipo Lysippo Lysippo Lysippoo 7
8 Butieo 16 Butieo Ibid. Vasari - Giunti, III, p. 25. ; Vasari - Milanesi, I, pp sin conparacion Fernando Marías, op. cit., p p Fernando Marías, op. cit., p. 96. Vasari - Giunti, III, p. 25. ; Vasari - Milanesi, I, p Ibid. Vasari - Giunti, III, p. 26. ; Vasari - Milanesi, I, p. 67. gli Argonauti una aquila, la quale, avendo rapito Ganimede Plinio, NH, Butieo 61 III, p Vasari - Milanesi, I, pp I
9 pp Fernando Marías, op. cit., p. 96. Vasari - Giunti, III, p. 6. ; Vasari - Milanesi, I, p Fernando Marías, op. cit., p Vasari - Giunti, III, p ; Vasari - Milanesi, VII, p p Gonzalo R. Michaus, Pedro Rubiales, Gaspar Becerra y Los Pintores españoles en Roma, , Madrid, 2007, pp Sarah B. McHam, op.cit., pp pp
10 opera certo di straordinaria bellezza pp Fernando Marías, op.cit., pp Vasari - Giunti, III, p ; Vasari - Milanesi, VII, p desto se be que no es solo la pa... de Micael A ngelo en azerle de disperates. Fernando Marías, op.cit., p Chantelou, Journal du Voyage du Cavalier Bernin en France, ed., Milovan Stanić, Paris, 2001, p NH, 36 : Federico Zuccaro, Scritti d Arte, ed. by Detlet Heikamp, Firenze, 1961, pp Haskell and Penny, Taste and the Antique, 1981, pp ,
11 non nella buona maniera greca antica, ma in quella goffa moderna di quei tempi Fernando Marías, op. cit., p. 75. Vasari - Giunti. I, p. 77. ; Vasari - Milanesi, I, pp p Ibid. Vasari - Giunti, I, p. 77. ; Vasari - Milanesi, I, p Vasari - Giunti, I, p. 83. ; Vasari - Milanesi, I, pp p
12 vs como lo pudo conf.... cómo lo pudo confundir Fernando Marías, op.cit., pp. 76, 125. confirmar Ibid T.S.R. Boase, Giorgio Vasari; The Man and the Book, Washington, 1971, pp Vasari - Giunti, I, p ; Vasari - Milanesi, I, pp p
13 simple 46 2 dificultades ingeniosas Si supiera lo que es verdaderamente aquella manera griega que el di... de otra sorte la trataría en lo que dize digo comparan... la con lo que yzo Jotto que e cosa simple a comparaç... de lo que se ensenna # deficultades engen... sas en aquela. deficultades engen... sas 1997 dificultades engañosas Fernando Marías, op.cit., pp.76, i 1 dificultades engeni... sas dificultades ingeniosas N.Hadjinicolao, La defense del Arte Bizantino por El Greco : Notas sobre una paradoja, Archivo español de arte, Julio - Septiembre, 2008, pp esp., engañar dificultades ingeniosas dificultades ingeniosas o engañosas Fernando Marías, Cuestionando un Mito : Leyendo documentos y escritos de El Greco, : pp. 7-22, esp.16. : pp , esp Sebastián de Covarrubias Orozco, Tesoro de la Lengua Castillana o Española, Madrid, 1611, ed. de 1995, p
14 pp , 114 pp P. L. Rubin, op.cit., pp Vasari - Milanesi, I, p p Fernando Marías, op.cit., p. 76. Vasari - Giunti, I, p ; Vasari - Milanesi, I, pp p Ibid. Vasari - Giunti, I, pp ; Vasari - Milanesi, I, pp pp
15 simple I cosa simple 52 II 5 8 yl sinple Pintor 53 III 7 7 sinplizidad 54 3 II ne le ay ne se halla de aver... que le haya habido tan... de ornamenti e invenc iones porque la de los antigos era cosa sinple para con esta. Fernando Marías, op.cit., p.131. Vasari - Giunti, III, p ; Vasari - Milanesi, VII, p p yl sinple Pintor de ser solo la Geometria se apreza, l Architetto de ser Mathematico. Fernando Marías/ Agustín Bustamante García, op.cit., pp , el templo de San Pieto tan vario e tan nuevo e tan alieno de quella sinplizidad - de figura - de los Antigos. Fernando Marías/Agustín Bustamante García, op.cit., pp ,
16 173 yl sinple Pintor 15 3 dificultades ingeniosas Grazia Varieta Ornato pp , esp Michael Baxandall, Paintings and Experience in Fifteenth Century Italy ; A Primer in the Social History of Pictorial Style, Oxford, pp esp. p Peter Burke, The Italian Renaissance ; Culture and Society in Italy, Princeton,
17 : Vasari - Milanesi, I, pp p G El Greco. Identity and Transformation, Crete, Italy. Spain, ed. by J. Álvarez Lopera, Milano, 1999, pp by G. Mastropoulos. 58 Ibid. M. Acheimastou - Potamianou, Domenicos Theotocopoulos : The Dormition of the Virgin, a Work of the Painter s Cretan Period, in El Greco of Crete, ed., N. Hadjinicolaou, Municipality of Iraklion, 1995, pp The Origins of El Greco : Icon Painting in Venetian Creta, ed. A. Drandaki, New York, 2009, p El Greco of Creta, Iraklion, 1990, pp by M. Acheimastou - Potamianou. 17
18 173 G. G. 59 dificultades ingeniosas 16 D. difficoltà/difficultà 60 / facilità sprezzatura 59 El Greco. Identity and Transformation, Crete. Italy. Spain, ed. by J. Álvarez Lopera, Milano, 1999 p difficoltà 15 D. David Summers, Michelangelo and the Language of Art, Princeton, 1981, pp , pp pp
19 61 62 D. 63 los sabios Castiglione, Il Cortegiano, ed., Cian, Book I, Chapter 26, p p condotta con una certa difficultà sì facile nella sua maniera 3 3 p. 8. Vasari - Milanesi, IV, p. 14. p Vasari - Milanesi, VII, p David Summers, op.cit., esp. p J. Shearman, Maniera as Aesthetic Ideal, in Renaissance Art, ed. by Creighton Gilbert, New York, 1970, pp , esp. p. 195, el una que es la ymitacion de colores que tengo yo por la mayor dificultad pues es engañar los sabios con aparentes. Fernando Marías/Agustín Bustamante García, op.cit., p
20 dificultades ingeniosas la Arte la que tendra mas deficultad sera el mas dileto e por consequenza mas enteletuale. Fernando Marías/Agustín Bustamante García, op. cit., p Vasari - Milanesi, I, pp p N. 16 N. Hadjinicolao, op. cit., p Fernando Marías, op.cit., p
21 pp N. Hadjinicolao, op. cit., pp
22 G.B. 22
23 2 3 23
24 東北学院大学教養学部論集 第 173 号 図 4 ファルネーゼの雄牛 ナポリ 国立考古学博物館 図 5 作者不詳 四福音書記者 フィレンツェ サンタ マリア ノヴェッラ聖堂 ゴンディ家礼拝堂ヴォールト 24
25 エル グレコと彼の父祖たちの芸術 図 6 アーニョロ ガッディ伝 におけるエル グレコの下線と欄外註 図 7 ジョット 聖母の御眠り ベルリン 国立絵画館 25
26 東北学院大学教養学部論集 第 173 号 図 8 エル グレコ 聖母の御眠り エルムポリス シロス島 聖母の御眠り聖堂 図 9 エル グレコ オルガス伯の埋葬 トレド サント トメ聖堂 26
27 El Greco and the Art of His Ancestors : His Annotations on Ancient Art and Byzantine Style in Vasari s Vite Michiko MATSUI 1 It seems very notable that some El Greco s underlined items on Vite suggest that he was aware well of some key points of Vasari s art historical conceptions and his art ideology : 1 In the Preface of the Third Part of Vite, he paid attention to Vasari s descriptions concerning discoveries of the famous ancient sculptures for exemple, Laocoön, the Torso of Belvedere. They contributed, in Vasari s opinion, to the change of the style from the second stage of Renaissance to the third one. 2 In the Life of Cimabue, El Greco noted the passages about an episode, deemed to be untrue, written by Vasari on the Greek masters working in the Gondi Chapel and Cimabue s early style. Then he left an annotation como lo pudo conf... according to Fernando Marías, we can read it as cómo lo pudo confundir. It tells us he doubted that Vasari was able to recognize the true Byzantine style. 2 El Greco noted the various passages in the essay of M. Marcello Adriani. They tell us his great interest for painter Apelles and his attention to many very famous anecdotes for example, those of Apelles and Campaspe, Apelles and the cobbler, Apelles as Alexander s exclusive portrait painter, Lysippus and his figures of slender proportion, Zeuxis and five girls of Crotone. We know that those episodes were already very popular and referred to frequently by various Renaissance art theorists such as Alberti, Pino, Dolce, Lomazzo, Castiglione. Therefore it would be possible that these reveal not only his interests for the anecdotes themselves but also for the stereotyped quotations by his contemporary art critics. 3 In the Life of Giotto, El Greco noted him as a highly esteemed painter by the letterati, such as Petrarca, Dante, Boccaccio and Sachetti. We can say that it reflect his deep concern for the concept of artists revered by intellectuals. 4 El Greco annoted in the Life of Angnolo Gaddi as follows : Si supiera lo que es verdaderamente aquella manera griega que el di... de otra sorte la trataría en lo que dize digo comparan... la con lo que yzo Jotto que e cosa simple a comparaç... de lo que se ensenna # deficultades engen... sas en aquela. 27
28 173 We can find the word simple or simplicity also in other annotations. 1 ne le ay ne se halla de aver... que le haya habido tan... de ornamenti e invenc iones porque la de los antigos era cosa sinple para con esta, in the Life of Michelangelo. 2 yl sinple Pintor de ser solo la Geometria se apreza, l Architetto de ser Mathematico, in Vitruvio, book 5, chap.8. 3 el templo de San Pieto tan vario e tan nuevo e tan alieno de quella sinplizidad de figura de los Antigos, in Vitruvio, book 7, chap.7. These tell us his perception that the word simple or simplicity seems the most suitable for the ancient architecture in comparison to the contemporary architecture. So we can consider that El Greco regarded the art of Giotto as one paralleled to the ancient art paintings in comparison to the contemporary art, that is, late Renaissance paintings including those of El Greco. If that is the case, it is understandable that he used a key word of late Renaissance art criticism dificultades/difficultà for the Byzantin style. It is conceivable that he could keep the vastly different artistic imagery and image cultures of both Byzantine and late Renaissance. From the end of 1580 s on, El Greco seems to have realized his Byzantine heritage as fruitful resources of artistic inspiration. 28
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