The study presents unknown forms of connection between the iconography of Vesuvius produced in 18th-century Naples and volcanological images produced in France in the same period. The analysis begins with a nucleus of landscapes published in 1768 in the Encyclopédie and continues by exploring the iconography associated with the important discovery of extinct French volcanoes in the second half of the 18th century. In both cases, influences and forms of parallel development emerge between the French and the Vesuvian iconography, at a time when the images of artists and scientists tended to coincide and to use the realistic language of the ‘veduta’.
Lo studio presenta inedite forme di connessione tra l’iconografia del Vesuvio prodotta nella Napoli del XVIII e immagini vulcanologiche realizzate in Francia alla stessa epoca. L’analisi inizia parte da un nucleo di paesaggi pubblicati nel 1768 nell’Encyclopédie e prosegue esplorando l’iconografia legata alla importante scoperta dei vulcani estinti francesi nella seconda metà del XVIII secolo. In ambo i casi emergono influenze e forme di sviluppo parallelo tra il filone iconografico francese e quello vesuviano, ad un’epoca in cui l’iconografia degli artisti e degli scienziati tendeva a coincidere e ad un utilizzare il linguaggio realistico della “veduta”.
Les planches vésuviennes de l’Encyclopédie (1768). Et autres représentations de volcans au XVIIIe siècle entre Naples et la France
Domenico Laurenza
2024-01-01
Abstract
The study presents unknown forms of connection between the iconography of Vesuvius produced in 18th-century Naples and volcanological images produced in France in the same period. The analysis begins with a nucleus of landscapes published in 1768 in the Encyclopédie and continues by exploring the iconography associated with the important discovery of extinct French volcanoes in the second half of the 18th century. In both cases, influences and forms of parallel development emerge between the French and the Vesuvian iconography, at a time when the images of artists and scientists tended to coincide and to use the realistic language of the ‘veduta’.File | Dimensione | Formato | |
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