[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"detail-sidebar-cat-0-en-105":3,"doc-seo-133780-105":59,"doc-detail-133780-en":131},{"code":4,"msg":5,"data":6},0,"success",[7,13,18,23,28,33,38,43,48,51,55],{"id":8,"doc_module":4,"doc_module_name":9,"category_name":10,"show_sort_weight":11,"slug":12},1,"Document","Story & Novel",90,"story-novel",{"id":14,"doc_module":4,"doc_module_name":9,"category_name":15,"show_sort_weight":16,"slug":17},2,"Literature",80,"literature",{"id":19,"doc_module":4,"doc_module_name":9,"category_name":20,"show_sort_weight":21,"slug":22},4,"Exam",70,"exam",{"id":24,"doc_module":4,"doc_module_name":9,"category_name":25,"show_sort_weight":26,"slug":27},5,"Comic",60,"comic",{"id":29,"doc_module":4,"doc_module_name":9,"category_name":30,"show_sort_weight":31,"slug":32},6,"Technology",50,"technology",{"id":34,"doc_module":4,"doc_module_name":9,"category_name":35,"show_sort_weight":36,"slug":37},7,"Healthcare",40,"healthcare",{"id":39,"doc_module":4,"doc_module_name":9,"category_name":40,"show_sort_weight":41,"slug":42},8,"Research & Report",30,"research-report",{"id":44,"doc_module":4,"doc_module_name":9,"category_name":45,"show_sort_weight":46,"slug":47},9,"Religion & Spirituality",20,"religion-spirituality",{"id":46,"doc_module":4,"doc_module_name":9,"category_name":49,"show_sort_weight":46,"slug":50},"World Cup","world-cup",{"id":52,"doc_module":4,"doc_module_name":9,"category_name":53,"show_sort_weight":52,"slug":54},10,"Lifestyle","lifestyle",{"id":56,"doc_module":4,"doc_module_name":9,"category_name":57,"show_sort_weight":24,"slug":58},19,"General","general",{"code":4,"msg":60,"data":61},"ok",{"site_id":62,"language":63,"slug":64,"title":65,"keywords":66,"description":67,"schema_data":68,"social_meta":124,"head_meta":126,"extra_data":128,"updated_unix":130},105,"en","disegno-e-colore-art-historical-reflections-on-the-structuring-of-space-rein-undusk","Disegno e colore - Art Historical Reflections on the Structuring of Space - Rein Undusk","","The paper examines how “disegno e colore” (drawing and color) organizes spatial representation within Renaissance and post-Renaissance art theory. It connects art-historical concerns to wider intellectual sources, including ancient rhetorical traditions and philosophical conceptions of space. Focusing on Florence and Venice, it discusses how Alberti’s reliance on rhetoric shaped visual narrative structures, and how paragone debates elevated outline and relief against painterly approaches. It further traces Vasari’s concept of disegno and the tension between Platonic idealism and empirical observation.",{"@graph":69,"@context":123},[70,84,106],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":40,"@type":76,"position":81},"https://docshare.wps.com/document/research-report/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/disegno-e-colore-art-historical-reflections-on-the-structuring-of-space-rein-undusk/133780/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/disegno-e-colore-art-historical-reflections-on-the-structuring-of-space-rein-undusk/133780.png","ImageObject",300,407,{"name":92,"@type":93},"Skyler","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-09-19","2026-08-20",true,{"@type":102,"interactionType":103,"userInteractionCount":105},"InteractionCounter",{"@type":104},"ViewAction",12,{"@type":107,"mainEntity":108},"FAQPage",[109,115,119],{"name":110,"@type":111,"acceptedAnswer":112},"How does the author frame the relationship between verbal and pictorial expression?","Question",{"text":113,"@type":114},"The author links disegno e colore to ancient rhetoric and argues for a two-way relation between verbal expression and pictorial expression. This rhetorical tradition helps explain structural features that art theory assigns to visual works.","Answer",{"name":116,"@type":111,"acceptedAnswer":117},"Why is paragone important in the paper’s discussion of Renaissance art theory?",{"text":118,"@type":114},"Paragone is presented as a foundational conflict over the relative values of sculpture and painting. The controversy generates key concepts and supports later distinctions such as “plastic” versus “painterly.”",{"name":120,"@type":111,"acceptedAnswer":121},"What does the author say about the meaning of disegno in Vasari and its philosophical implications?",{"text":122,"@type":114},"The author explains that Vasari universalizes disegno as the right proportion of the whole to its parts and of parts to one another. The paper also highlights the contrast between an empirically grounded approach to disegno and a Platonic flavor in Vasari’s thinking.","https://schema.org",{"og:url":83,"og:type":125,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":127,"canonical":83},"index,follow",{"doc_id":129,"site_id":62},133780,1787226715,{"code":4,"msg":5,"data":132},{"doc_id":129,"user_id":133,"nickname":92,"user_avatar":134,"doc_module":4,"category_id":39,"category_name":40,"doc_title":65,"doc_description":67,"doc_content":135,"file_id":136,"file_url":137,"file_type":138,"file_size":139,"view_count":105,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":105,"language":140,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":67,"update_tm":130,"read_time":41},2336464648746,"https://ap-avatar.wpscdn.com/davatar_276721f389ce27ea32af1340a28f341c","Disegno e colore:  \nArt Historical Reflections on the Structuring of Space  \nRein Undusk  \nBefore getting down to the subject of the paper, I would like to make a couple of remarks as regards my approach. First I feel obliged to temper the strictly art historical viewpoint advanced in the title with an aesthetical overtone of a more general nature. As a matter of fact, my adherence to the problem of disegno e colore has come from two sources, both outside the realm of art. On the one hand, it has resulted from an interest in the visual tradition of ancient rhetoric, which in the long run, as we know, had proven extremely relevant to art history as well. In broad terms, it’s a question of how verbal expression relates to pictorial expression, and vice versa. On the other hand, a certain overall affection for the spatial conceptions in antique and modern philosophy has been conducive to my focus on the problem. In this connection, art history serves as an exemplum of concomitant theoretical thought and world view. My second remark derives from the feeling that it’s a sketch of a problem rather than the results of a study that I’m going to propose to you next.  \nIt is beyond dispute that art theory was born in the period of the Renaissance. And as appropriate to every genuine and self-respecting theoretical outlook, it developed in dialogue between two cities, the inland Florence and the coastal and more modern Venice. However, in the context of the Renaissance, the role of Venice must be described as somehow ministerial to the standard-bearer Florence. 􀉩e Renaissance is characterised, after all, by its wish to resuscitate the ancient Latin and Greek cultures, and from this point of view Florence, being closely affiliated with Rome, was granted a primary role. 􀉩e ground-breaking work in the history of Florentine and Renaissance art theory as a whole is usually considered to be Leon Battista Alberti’s tract De Pictura (1435). 􀉩is book bears definite witness to the peculiar way the germinating Renaissance art theory came to rely on the tenets of ancient rhetoric. I will not go into that well-known historical matter (see, e.g., Spencer 1957); suffice it to say that the penchant of  \nancient rhetorical treatments for visual metaphors lent itself well to the use of the Renaissance art theorist. An attendant phenomenon of such substitution of the language of the picture for the pictorial language of rhetoric was that a certain narrative superstructure came to be placed on the visual arts. 􀉩is is evident in Alberti’s comparison of the composition of painting with historia, that is, with a plot or mythos drawn from ancient or Christian texts, as well as in his intimation that bodies in the picture equal words, syllables equal members and letters equal contours (Alberti 1991: 68, 89) . 􀉩e remarkable consequence of this process was the eminent position attached by Florentine art theory to relief or outline, which also became one of the most heavily charged issues in the debates between Florentines and Venetians.  \nA historical fact that surely can not be avoided in dealing with Renaissance art is the famous conflict over the relative values of sculpture and painting known as paragone. Not only were a number of fundamental concepts elaborated in the controversy, but also a foundation was laid for the important distinction between‘plastic’ and ‘painterly’, unfolding its potential only in the later discussions on Romanticism and Modernism. Although Alberti is lavish in his praise of painting (Alberti 1991: 60–64) and truly the most lustrous Renaissance eulogy on painting was delivered by Leonardo (Leonardo da Vinci 1989: 20–46), who can be considered at least partly a representative of the Florentine school as well, the fascination of Florentines with relief accounts for the sculpturesque undertone of their approach. 􀉩e Italian concept of disegno, which became very closely associated with Florentine art theory and can be translated as drawing","cbCaipjJFhGIaFfX","https://ap.wps.com/l/cbCaipjJFhGIaFfX","pdf",125278,"English","# Introduction\n# Renaissance art theory and ancient rhetoric\n# Paragone and the plastic vs painterly distinction\n# Disegno in Florentine theory and Vasari\n# Venetian art theory and the role of colour","[{\"question\":\"How does the author frame the relationship between verbal and pictorial expression?\",\"answer\":\"The author links disegno e colore to ancient rhetoric and argues for a two-way relation between verbal expression and pictorial expression. This rhetorical tradition helps explain structural features that art theory assigns to visual works.\"},{\"question\":\"Why is paragone important in the paper’s discussion of Renaissance art theory?\",\"answer\":\"Paragone is presented as a foundational conflict over the relative values of sculpture and painting. The controversy generates key concepts and supports later distinctions such as “plastic” versus “painterly.”\"},{\"question\":\"What does the author say about the meaning of disegno in Vasari and its philosophical implications?\",\"answer\":\"The author explains that Vasari universalizes disegno as the right proportion of the whole to its parts and of parts to one another. The paper also highlights the contrast between an empirically grounded approach to disegno and a Platonic flavor in Vasari’s thinking.\"}]","Disegno e colore - Art Historical Reflections on the Structuring of Space - Rein Undusk | PDF"]