Fatica

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Fatica ( it. : Expenditure ) is an art-theoretical category, important especially in the Paragons .

history

Already the Hellenistic writer Lukian von Samosata mocked himself in an imagined competition between sculpture and education about the sweaty craftsman-sculptor covered with marble dust. This image then reappears in the Paragone debate of the Renaissance . In his Trattato della Pittura , for example, Leonardo da Vinci paints the picture of the sweating sculptor who has to use brute force in his work and comes across as dusty white as a baker. This resulted in a deeper social image for the sculptors : that of the honest craftsman who is completely at the mercy of the physical conditions of his activity. Leonardo contrasted this fatica del corpo with the intellectual effort - fatica di mente - which he claimed solely for painting. Since the middle of the 16th century there were also sculptors and writers who rated Fatica, including physical exertion, positively and declared it to be a special virtue of sculpture, and who also used the fatica di mente for sculpture.

Fatica is also a central category in the work Della moneta by the Italian economist Ferdinando Galiani . In addition, Fatica is the technical term for material fatigue in Italian .

literature

  • Leonardo da Vinci : Trattato della Pittura . Vicenza 2000.
  • Benedetto Varchi : Paragons. Dispute of rank of the arts . Italian and German. Translated and commented by Oskar Bätschmann and Tristan Weddigen. WBG, Darmstadt 2013, ISBN 978-3-534-21637-6 .
  • Stefan Hess : Between Winckelmann and Winkelried. The Basel sculptor Ferdinand Schlöth (1818–1891) . Berlin 2010, p. 43 f.
  • Britta Kusch-Arnhold: On the importance of practice for artistic virtus , in: Joachim Poeschke et al. (Ed.): The artist's virtues in the Italian Renaissance, Münster / Westphalia 2006.
  • Barbara Becker-Cantarino, Hartmut Laufhütte : Arts and nature: in early modern discourses. Part 1. 2000, p. 376.