historyВЕСТНИК РГГУ. Серия «Литературоведение. Языкознание. Культурология»RSUH/RGGU Bulletin: “Literary Teory. Linguistics. Cultural Studies”, Series2073-6355RSUH10.28995/2686-7249-2021-6-115-126history-1001Research ArticleДАНИЛОВСКИЕ ЧТЕНИЯ. АНТИЧНОСТЬ – СРЕДНЕВЕКОВЬЕ – РЕНЕССАНС. ИСКУССТВО И КУЛЬТУРА. СБОРНИК 4CONFERENCE DEDICATED TO THE MEMORY OF IRINA DANILOVA ANTIQUITY – MIDDLE AGES – RENAISSANCE: ART AND CULTURE ISSUE 4Римская мастерская Джироламо Муциано: на стыке коллективного и индивидуального творчестваThe Roman workshop of Girolamo Muziano. At the junction of collective and individual creativityДунинаМ. В.DuninaM. V.

Мария В. Дунина

119019, Москва, ул. Волхонка, д. 12

Maria V. Dunina

bld. 12, Volkhonka St., Moscow, 119019

mashadunina@mail.ruГосударственный музей изобразительных искусств имени А.С. ПушкинаРоссияThe Pushkin State Museum of Fine ArtsRussian Federation20211309202106115126Copyright © Дунина М.В., 20212021Дунина М.В.Dunina M.V.Данная работа распространяется под лицензией Creative Commons Attribution 4.0.This work is licensed under a Creative Commons Attribution 4.0 License.https://history.rsuh.ru/jour/article/view/1001

Художественная жизнь Рима конца Чинквеченто была связана с постепенным отходом от ренессансной идеи личного примера мастера в работе его помощников. Концепция художника как главы крупной мастерской, определявшего все, что связанно с ее жизнью и трудом, теперь все сильнее пересекалась с представлением о соратничестве равноценных творческих индивидуальностей. Взаимодействие Джироламо Муциано с его ассистентами отчасти являлось продолжением идеальных образцов римских мастерских первой половины XVI столетия. Однако здесь этот тип общения получил неожиданное развитие, поскольку учитель начал активно пользоваться графическими идеями учеников. В работе рассматривается преемственность традиций и новаторские творческие методы, присущие мастерской Муциано.

Artistic life in the Rome of the late Cinquecento was affected by a gradual departure from the Renaissance idea of a master who set his personal example on the work of his assistants. The concept of an artist as the head of a large workshop, who determined everything related to its life and work, now increasingly merged into an idea of a collaboration of creative equals. Girolamo Muziano’s interaction with his assistants was partly a continuation of the ideal examples of Roman workshops in the first half of the 16th cent. However, in this case, the type of interaction underwent an unexpected development, as the teacher began to use the graphic ideas of his students. This article examines the continuity and mutation of traditions and innovative creative methods in the workshop of Girolamo Muziano.

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The authors declare that there are no conflicts of interest present.