top of page

Portraiture and Garden


Exerpt from Geoffrey Jellicoe:

1930-1940 Modern-Architecture

Portraiture flourished in Florence. Artist like Agnolo Bronzino set out not only to immortalize the dignity of man but also the complex matters – the good, evil and indifferent – that make up the wholeness of his mind. The painter removes the mask of his sitter, studies what is behind, then return the mask with such adjustment and distortion as may be necessary to reflect the interior. The process is a modified an Mannerist d more subtle form of Cubist portraiture, and it is not surprising that Surrealism itself seems to have been born in this liberal age.

肖像畫在佛羅倫薩文藝復興時期蓬勃發展。 像Agnolo Bronzino這樣的藝術家不僅要使人類的尊嚴永生,而且還要組合他腦海中的整體性的複雜事物 - 善、惡、平庸。 畫家移除他表面的面具,研究背後的內容,然後返回面具,以反映內部所需去調整和變形。 這個過程是一個修改和更微妙的立體主義肖像形式,而超現實主義本身似乎在這個自由時代誕生並不奇怪。

Villa Gamberaia 

According to Georgina Masson, writing of it in Italian Garden, in 1961, the history of Gamberaia is obscure. An older villa was replaced by the present traditionally classical building in the late sixteenth century, probably including the terrace and the orthodox parterre water gardens. The argument is that this garden as it stands echoes almost every part of human mind: the sensual, the practical, the contemplative, the mystical, the childish and, overall, the ordered grandeur of the individual. Operating through some unrecorded architect or architects whose professionalism was immaculate, the Capponi family were able to create an environment whose ethos was an extension of its own deepest feelings. The unknow architect himself is like a portrait painter who records not only the visible and conscious of his sitter, but also the invisible and subconscious.

根據Georgina Masson,在” Italian Garden” 的說法,1961年,Gamberaia的歷史是模糊的。 一棟較老的別墅被十六世紀晚期的傳統古典建築所取代,可能包括台階和正統的水上花園。 這個論點是,這個園林幾乎反映了人類心靈的每一個部分:感性、實踐、沉思、神秘、幼稚、總體而言,呈現個人的秩序與高貴。 Capponi家族通過一些具有完美專業精神的建築師或未記載的建築工作者,創造出一種環境,其精神是自己最深刻感受的延伸。 無名的建築師本身就像一個肖像畫家,不僅記錄了他的看守和意識,而且還看到了無形和潛意識。

It was in this lack of understanding of human nature, whose structure is more complex than the cosmos, that the Constructivist genus of the 1930s was deficient.


bottom of page