Modern Residences of Artists as the Subject and Space of Creation
Chapter 1: The “artist’s house”. The rise and twilight of the concept
23 Chapter 1: The “artist’s house”. The rise and twilight of the concept The concept of the “artist’s house” clearly derives from the humanist model of culture that emerged in Italy in the 15th century. The archetype of a great master worthy of having his own house and being both materially and spiritually capa- ble of giving it an outstanding quality began to materialise in that period. At the same time, the ancient ideal of a place of creation, albeit creation that was still most often identified with intellectual effort, was not only recalled and then de- fined in theory but also carried out in practice, in the initially rare but invariably noteworthy edifices. Some features of this ideal are revealed by images of the studios of St. Augustine and St. Hieronymus, for instance in paintings by Vittore Carpaccio and Antonello da Messina, frescoes by Sandro Botticelli and Domenico Ghirlandaio (Fig. 2), copperplate by Albrecht Dürer, etc., or of the ancient philosophers and scholars, for instance in Federico da Montefeltro’s studiolo in the palace of Urbino.27 The idea of solitude and isolation in a residential space filled with attributes of intel- lectual effort (or artistic production) was supported by the mediaeval ideal of work in monastic seclusion and, principally, by the ideal of the creator’s solitude as derived from ancient sources. It was precisely this ideal that was revived at the dawn of the modern era, with references to the entire earlier tradition, by Francesco Petrarca in the treatise...
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