リッポ・ディ・ダルマジオからグイド・レーニへ : カルロ・チェーザレ・マルヴァジアの美術史叙述におけるひとつの系譜とその形成のための要因

抄録

Felsina Pittrice, written by C.C. Malvasia, contains a chapter that mainly discusses the life of Lippo di Dalmasio. In addition, this chapter briefly mentions the lives of Lippo's "disciples" such as Marco Zoppo and "others who flourished from 1400 to 1500". This chapter can be found between the section on the lives of "Franco Bolognese", Vitale da Bologna, and other artists and the biography of Francesco Francia. This paper considers how this idea of Malvasia was born, principally from the next points of view: (1) Guido Reni's taste, (2) the anti-Vasari context, and (3) the history of the reception of Lippo. Malvasia states that not only Lippo but also Francia was among the "ancient authors" loved by Reni. Recognizing Zoppo, Francia's master, as Lippo's pupil, Malvasia must have emphasized the genealogy of the maniera devota painters, from Lippo to Francia, which he had constructed on the basis of Reni. This understanding of Lippo may seem strange. But in the Bologna Renaissance there were more than a few Lippo-like images updated to the contemporary manner. It will be concluded that this range of impressions about Lippo's works also influenced the structure and accounts presented in Felsina.