Controversies over Carlo Maratta.docxVIP

Controversies over Carlo Maratta关于卡尔罗马拉蒂的争论Whilst the restoration of the Stanze did not particularly become the object of controversy, the restoration of the Loggia di Psiche became the focus of a debate which lasted through the greater part of the eighteenth century, so that it became de rigueur even for travelers to express an opinion on Maratta the restorer. He had felt himself authorized to complete the images basing himself on a classical and prescriptive analysis of the work of art which, as such,must follow norms that can be acquires through proper method. The figures of Bacchus and Hercules redrawn from the Antique on the vault recovered the essential elements of the images, and the underlying “idea” found full expression despite the rather clumsy handling and a few unavoidable variations.当Stanze的修复还没成为争论的焦点的时候，关于Loggia的Psiche的修复成为了众人争论的焦点，并且持续了大半个18世纪，因此对他的修复者Maratta评头论足也成为了一种社会现象，即使对他地来的旅游参观者来说也是如此。基于一些对艺术品古典并且规范的分析，这些当然要符合恰当渠道中获取的标准，Maratta认为自己能够权威地完成一些图像修复。古代穹顶上重画出的巴克斯和海格利斯的形象就是恢复一些图像的重要元素，还有就是一些基本的对于画面的想法可以充分地找到表达，尽管是通过一些粗糙的手迹和一些不可避免已改变了的东西。The negative judgements were mostly linked to probable changes and to the difficult legibility of the frescos which, until the restoration directed by Giulio Aristide Sartorio in about 1920, had backgrounds of deep ultramarine, as can also be seen in the false tapestries in the vault of the Stanza di Eliodoro, and in early echoes of the Loggia such as the frescos in the Eroli Chael in the Duomo of Spoleto. This archaic trait, characteristic of artists of the early part of the sixteenth century, was therefore misunderstood by visitors such as president de Brosses, who had no hesitation in ascribing it to Maratta’s retouching, but the relative success of the criticisms, as a question of principle, was also closely linked to a less academic vision of painting, more appreciative of its material qualities and its creative aspects, andthe unforeseen and therefore unrepeatable elements of the painterly process, which theref