4 hrs confidence:   Despite the C&R legacy bestowed upon him, his reinterpretation of these values was...
Explanation:
Based on the info in the ref I posted, I think "singulièrement" means "extremely" or "in a peculiar way" rather than "remarkably" (all three are definitions given in Collins Robert).
| Emma Paulay
France
Local time: 14:59
Native speaker of: English
PRO pts in category: 27
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5 hrs confidence: despite being privy to that legacy ... reinterpreted to such an extent ...
Explanation:
Doubtless there can be few painters who, like Caravaggio, - despite being privy to that legacy - reinterpreted to such an extent and so distinctively the artistic traditions of Antiquity and the Renaissance
My take on this: I think it's important to weave the "pourtant" in somewhere to bring out the fact that despite the fact that he has the A+C legacy at his fingertips, (from his training with Raphael for instance) he was one of the artists who reworked it and refashioned it to give his very own distinctive style
Reference: http://atilf.atilf.fr/dendien/scripts/tlfiv5/visusel.exe?12;...
| lundy
France
Local time: 14:59
Specializes in field
Native speaker of:  English
PRO pts in category: 16
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1 hr confidence: adapted and preserved the legacy (from ...)
Explanation:
I agree that the 'pourtant' is tricky - the apparent contradiction might be that he 'BOTH tapped into' and at the same time safeguarded such classic traditions.
what about
"(few have so remarkably/successfully....) adapted and preserved the legacy (from the past)
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Note added at 2 hrs (2008-10-05 12:12:47 GMT)
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SO... the 'pourtant' means despite his lack of academic training, his fringiness etc. he carried as it were the 'flame' of classic tradition ? Help from Asker ???!
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Note added at 22 hrs (2008-10-06 08:45:43 GMT)
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French Foodie you have so much to digest here, but we are all so keen to get it right for you ! From peer input I think the best tack is to use 'both' or 'while' to get round the contradiction of 'pourtant' - the sense being that he adapted / updated (gave an original twist to)...while (nevertheless) being a custodian of this legacy. Hard make it flow! Good luck !
| ormiston
Local time: 14:59
Works in field
Native speaker of: English
PRO pts in category: 24
|
| | Notes to answerer
Asker: Hi Ormiston, unfortunately, this paragraph is the only info I have on the artist. Emma's reference seems quite relevent, however.
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23 hrs confidence: peer agreement (net): +1 taken such a fresh approach to the legacy that had been passed on to him
Explanation:
IMO "le dépositaire" does not imply he was the only one to receive the 'legacy', so no need to fret about 'sole' heir/custodian or the like.
The "pourtant" is implied here, at that time a pupil would be expected to continue working within the 'inherited' tradition, the fact that he didn't keep strictly to it is in itself the contrast suggested by the French word, no need to make it heavily explicit in English.
I won't defend "fresh approach" with my life as art-history-speak, it's just an attempt to broaden the options presented in our answers.
| David Sirett
Local time: 14:59
Native speaker of:  English
PRO pts in category: 4
|
| | Grading comment | I want to thank everyone very much for all the time, effort and in-depth discussion that went into this question. In the end, for the purposes of my text, which is for the general public and not art historians, I decided to keep it as simple as possible. David's comments were very helpful in that respect. Thanks again, everyone! |
|
16 mins confidence: drawing on [antique and Renaissance] heritage, he was, nonetheless, its heir / successor
Explanation:
Few painters, it is true, drew as heavily on the antique and Renaissance heritage - or - on the works of their antique and Renaissance forebears, ultimately carrying their mantle
Some disjointed suggestions. The last clause because I don't really understand the 'nonetheless' and because 'of which ...' is so clumsy.
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Note added at 57 mins (2008-10-05 10:49:56 GMT)
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or perhaps 'guardian' for 'dépositaire'?
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Note added at 1 hr (2008-10-05 10:54:57 GMT)
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'reworked the ... heritage whose mantle he would ultimately carry'
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Note added at 5 hrs (2008-10-05 15:07:13 GMT)
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Few painters, it is true, reworked the antique/classical and Renaissance heritage to the extent that he did, and in such an individual way, even though he would become its guardian/heir... or even though he was simultaneously its heir/guardian.
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Note added at 6 hrs (2008-10-05 16:17:37 GMT)
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I like ormiston's custodian.
In general terms, this is a strange sentence. No one painter is ever sole heir to a tradition; they might be the main player, but the only one? I think this makes the any translation of the sentence problematic, but since that is what it says in the source text...
I know it looks like I am all over this question like a rash, but as an art historian myself, I must say that like many other areas, it is important to get the tone/vocabulary right, as well as the meaning. Apologies to my esteemed colleagues....
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Note added at 1 day28 mins (2008-10-06 10:20:53 GMT)
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Perhaps this will help:
http://books.google.co.uk/books?id=gt5gtrqoKOIC&pg=RA1-PA164...
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Note added at 1 day47 mins (2008-10-06 10:39:08 GMT)
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The more I read about Polidoro I find it strange that he should be considered as the heir or successor or guardian or whatever to the traditions in question. It seems he retained the spirit of Raphael in his work, but was otherwise very individualistic, and not very conventional at all in his approach. It was impossible for professional artists at the time not to respond to both the classical and the Renaissance traditions, so I am not sure that that in itself is saying very much. Raphael had other pupils who would have more closely taken up his mantle in terms of style, philosophical approach, etc.
Another link which describes his work:
http://en.wikipedia.org/wiki/Polidoro_da_Caravaggio
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Note added at 1 day10 hrs (2008-10-06 20:49:21 GMT)
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I hope some of these examples might help you.
"Chiang's painting of the Budai Monk is an example of the Chinese artist's reworking of canonized images and cultural legacy. It is common for an artist in China to (re)present an existing classical or canonized piece. Such a re-working presumes the viewer's knowledge of the earlier work."
http://goliath.ecnext.com/coms2/gi_0199-3562402/The-travelin...
Johannes Phokela re-works iconic images by European 'Old Masters', including Rubens, Bruegel, Jordaens and Jacob de Gheyn. Referring to art historical reproductions, Phokela frequently transforms the gender and race of key figures in his original source material. The results are dramatic and unsettling images that challenge nationalistic and ethnic narratives around contemporary and historical art.
Phokela links these re-interpretations of Dutch Golden Age painting with the development of the Enlightenment movement, and with the colonisation of the African continent. Whilst Phokela's work weaves a personal history into the canon of Dutch and Flemish old master painting, his practice stands as an examination of the violent actions of the Dutch in South Africa, as much as an inquiry into the history of painting.
http://www.absolutearts.com/artsnews/2002/05/15/29919.html
http://books.google.co.uk/books?id=SIHop-1WHvYC&pg=PA31&lpg=...
"The Byzantine Empire, which lasted from 330 until 1453, inherited the territories and cultural traditions of the Eastern Roman Empire. Drawing upon the art of classical Greece and Rome, Byzantine artists continued the naturalistic tradition in their depictions of the human form."
http://www.getty.edu/news/press/exhibit/byzantium.html
| Helen Shiner
United Kingdom
Local time: 13:59
Specializes in field
Native speaker of: English
PRO pts in category: 348
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| |
| Reference: Why 'pourtant'?
Reference information:
Because, he was a kind of "rebellious disciple":
Polidoro est donc un autodidacte sans formation académique. Ce parcours qui avait laissé longtemps libre cours à l’instinct et à l’intuition, a été comme une invitation à subvertir les principes et les images du classicisme, que ceux-ci se trouvent dans des bas-reliefs romains ou des modèles raphaélesques. Ce n’était pas par rébellion que Polidoro agissait ainsi, mais sa manière de les magnifier était d’entrée de jeu irrégulière. A cela s’ajoute un tempérament fiévreux, bien perceptible dans ses dessins rapides, inaboutis et parfois frénétiques, une vision quasi monochrome et plutôt sombre du monde, une attention égale à la force de l’art d’un Michel-Ange et à l’expression populaire du réel. Confronté plus tard aux exemples de l’art du Nord colportés par l’estampe (Dürer, Lucas de Leyde), son art trouve un nouveau ressort.
Les dessins de Polidoro ont très tôt été recherchés, dès le XVIe siècle, des artistes ont recueilli les dessins de Polidoro. Son prestige en tant qu’élève de Raphaël a permis, au XVIIe siècle, d’assurer à ses dessins une place de choix dans des collections privées.
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Note added at 5 hrs (2008-10-05 15:30:32 GMT)
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Malgré sa formation classique auprès de Raphaël et de Giovanni da
Udine sur les chantiers du Vatican, Polidoro da Caravaggio ne
s’inscrit pas vraiment dans la continuité artistique de son maître.
http://www.louvre.fr/media/repository/ressources/sources/pdf...
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Note added at 5 hrs (2008-10-05 15:32:25 GMT)
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Polidoro da Caravaggio est avant tout connu en Europe pour être l’élève de Raphaël. Néanmoins, loin de tout classicisme, Polidoro a su très tôt s’affranchir de cette tutelle pour réaliser des dessins originaux par leur force qui n’est pas sans rappeler celle de Poussin.
http://www.restonsenforme.com/20080118/polidoro-da-caravaggi...
Reference: http://www.artactu.com/polidoro-da-caravaggio-dessins-du-lou...
| Emma Paulay
France
Native speaker of: English
PRO pts in category: 27
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