Abstract

Agnolo Bronzino performs a visual experiment in Anton Francesco Doni’s I Marmi (Venice, 1552). “Do you see these pigments?” he asks as he shows his palette to a group of Florentine artisans. Bronzino had mentally dismantled a painting by Andrea del Sarto and loaded his palette with those pigments that Sarto would have used. With them, he painted a copy of the Sarto. How was this strange mind game rendered as a form of art criticism, as a demonstration of craft and technique, and as a visual exercise for a lay audience who could not paint? Doni’s Bronzino invited viewers and readers to think and see with the imagination and eyes of painters, a strategy adopted by painters of self-portraits, notably Anguissola Sofonisba’s Self-Portrait (Łańcut), c.1555.

摘要

阿尼奥洛·布龙齐诺 (Agnolo Bronzino) 在安东·弗朗切斯科·多尼 (Anton Francesco Doni) 的《I Marmi》（威尼斯，1552 年）中进行了视觉实验。“你看到这些颜料了吗？” 当他向一群佛罗伦萨工匠展示他的调色板时，他问道。布龙齐诺在心里拆解了安德里亚·德尔·萨托的一幅画，并在他的调色板上装上了萨托会使用的颜料。他用它们画了一幅《萨尔托》的复制品。这种奇怪的智力游戏是如何被呈现为一种艺术批评的形式，作为工艺和技术的展示，以及作为不会绘画的外行观众的视觉练习？多尼的布龙齐诺邀请观众和读者用画家的想象力和眼睛来思考和观看，这是自画像画家所采用的策略，特别是安吉索拉·索福尼斯巴的《自画像》（Łańcut）， c . 1555.