Künstlerliebe. Der Narcissus-Mythos bei Leon Battista Alberti und die Aristoteles-Lektüre der Frührenaissance

• Autores: Ulrich Pfisterer
• Localización: Zeitschrift für Kunstgeschichte, ISSN 0044-2992, Vol. 64, Nº. 3, 2001, págs. 305-330
• Idioma: alemán
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• Dialnet Métricas: 3 Citas
• Resumen

  • In De Pictura (1435), Battista Alberti transformed the Narcissus myth, as recounted by Ovid, into a myth about the origin of painting. For Alberti, a reflective water surface (Narcissus fell in love with his own reflection on the water) metaphorically represented the mimetic universality of painting capable of recreating a three-dimensional reality on a flat surface. Narcissus's self-love allowed Alberti, whose work echoes Aristotle, to make his first steps towards a rudimentary psychology of the artist, in which the act of creation and love seem almost the same. The artist loves his creations because they reveal his humanity; the acts of creation and love seem almost the same. The writer highlights the parallels between Aberti's Narcissus myth and early Renaissance Aristotelian discussions about the artist's love of his work.