« Moderne / Modernisme. Qu’est-ce que la modernité en art ? » - Marina Seretti

« Moderne / Modernisme. Qu’est-ce que la modernité en art ? » - Marina Seretti

Modern / Modernism. What is modernity in art? - Marina Seretti

by Marina Seretti · View the channel on PSI

Humanities, Social Sciences & Thought Arts & Architecture AGThe visual, decorative or fine arts: treatments and subjectsAGAHistory of art
🎙 Marina Seretti 👥 125 📅 November 12, 2019 ⏱ 36 min 👁 1K 📄 literature review 🧭 2026-10-10
Available in: English (current) Français

Keywords

Maniera modernaVasariRenaissanceFascinationFicino

Summary

This academic conference paper by Marina Seretti, presented at a colloquium organized by the Labex Comod, investigates the concept of modernity in art as defined by Giorgio Vasari in the mid-16th century. Seretti argues that Vasari’s ‘maniera moderna’ is a saturated yet profoundly indeterminate notion, characterized by a ’licence within the rule’ (licenza nella regola). This concept refers to an artistic freedom that perfects rather than transgresses the rules, requiring a flexible adaptation to the particular, reminiscent of Aristotle’s ’lesbian rule’. The lecture explores the dual manifestation of this modernity: the fascination it exerts on the spectator, exemplified by the lifelike quality of Leonardo’s Mona Lisa, and the ease (facilità) and vivacity (sprezzatura) of the artist. Seretti engages with John Sherman’s theory of ’transitivity’ in portraiture, discussing how the artwork forges an intersubjective relationship with the viewer, and contrasts this with Carlo Severi’s notion of projection. The analysis extends to the Neoplatonic theory of Marsilio Ficino, distinguishing between the sublime ‘splendour’ that elevates and the hypnotic ‘fascination’ that enslaves, a tension central to the Renaissance aesthetic experience. Finally, the question of the artist’s self-expression is addressed through the adage ‘ogni pittore dipinge sé’, examining how the artist’s spirit is mirrored in the work, a notion debated by Leonardo and Ficino. The presentation concludes with an examination of the finished and unfinished (non-finito) in works like Michelangelo’s sculptures, highlighting the enduring power of these artworks to animate and engage the viewer.

240 words

Critical Evaluation

Value of the Information & Strength of the Argument

The value of this presentation lies in its dense, philosophically grounded synthesis of art-historical concepts. Marina Seretti demonstrates exceptional analytical depth by tracing the intellectual genealogy of modern art from Vasari to Ficino and Leonardo, and connecting it to contemporary theoretical debates (Sherman, Severi). The argumentation is exceptionally solid, building a coherent narrative from the definition of ‘maniera moderna’ to its effects on the spectator and its relation to the artist. The use of specific examples, such as the Mona Lisa and Michelangelo’s ‘Night’, provides concrete evidence for the theoretical framework. The discussion of the Neoplatonic distinction between splendor and fascination fruitfully complicates the notion of aesthetic reception, adding a sophisticated layer to the analysis of the modern spectator’s experience. The argument that the ’licence’ does not break the rule but extends it through a dynamic interpretation is a powerful and well-supported thesis that challenges simplistic views of artistic rebellion.

Scientific Rigor, Source Quality, Title Accuracy

The scientific rigor is impeccable for an academic lecture. The presenter consistently and accurately cites primary sources (Vasari, Ficino, Leonardo) and integrates them with secondary literature (Sherman, Severi, Arasse), demonstrating a comprehensive command of the field. The quality of sources is high, relying on canonical texts and established scholarly interpretations, which ensures a strong foundation for her claims. The title perfectly matches the content; the lecture systematically explores the question of modernity in art by dissecting the historical and philosophical layers of a key Renaissance concept. No public comments were provided for the video, so no public sentiment analysis was conducted.

266 words

Title / Content Match

The title accurately reflects the content, as the lecture directly addresses the question of modernity in art through the lens of Vasari's concept of 'maniera moderna'.

Quality & Reliability

8/10

The lecture is a rigorous academic presentation grounded in primary sources (Vasari's 'Lives', Ficino's 'Commentary on Plato's Symposium', Leonardo's 'Treatise on Painting') and modern scholarship (Sherman, Severi, Arasse). The transcript is complete, the reasoning is meticulously structured, and the arguments are well-documented within the scholarly tradition of art history and philosophy.

Key Moments

Markers derived by PSI from the transcript: the creator did not define chapters.

Cited Sources

  • Colloquium page: Moderne / Modernisme. Qu'est-ce que la modernité en art ? — Official link from the video description providing details about the academic colloquium where this lecture took place.
  • Giorgio Vasari — Primary author discussed in the lecture; his 'Lives of the Artists' introduced the concept of 'maniera moderna'.
  • Marsilio Ficino — Neoplatonic philosopher cited extensively for his theory of splendor and fascination in relation to art and love.
  • Leonardo da Vinci — Artist and theorist whose works and writings, particularly the Mona Lisa and his Treatise on Painting, are central examples used in the lecture.
  • John Sherman — Art historian mentioned for his theory of 'transitivity' in portraiture, describing the interactive nature of engagement with artworks.
  • Carlo Severi — Contemporary anthropologist cited for his concepts of projection and the returned gaze in image reception.

Concurring Sources

  • Giorgio Vasari - Le Vite — Primary source text that forms the basis of the lecture's analysis of the 'maniera moderna', providing the original definitions and descriptions referenced by the speaker.
  • Marsilio Ficino - Commentaire sur le Banquet de Platon — Central theoretical source for the lecture's Neoplatonic analysis of love, beauty, splendor and fascination, cited explicitly in the transcript.

Contribution & Novelties

The primary contribution of this lecture is its rigorous philosophical re-evaluation of the ‘maniera moderna’, moving beyond a mere stylistic categorization to reveal it as a dynamic aesthetic interplay between artistic freedom, formal rules, and spectator engagement. It skillfully bridges the gap between art historical analysis and philosophical theory by contextualizing Vasari’s concept within the broader Neoplatonic intellectual milieu (Ficino) and modern art theory (Sherman, Severi). The novel synthesis of ‘splendour’ and ‘fascination’ as two opposing forces in the viewing experience offers a nuanced framework for understanding the modern artwork’s unique and often overwhelming power over its audience.

Pour aller plus loin :

  • Mannerism (Wikipedia) — Art historical movement directly related to the stylistic developments described by Vasari; pertinent for understanding the post-Renaissance evolution of the ‘maniera’.
  • Paragone (Wikipedia) — The Renaissance debate on the superiority of painting over sculpture and poetry, a central theme in the lecture’s discussion of Leonardo’s rivalry and the social role of art.
  • Querelle des Anciens et des Modernes (Wikipedia FR) — A later intellectual conflict that continues the debate on artistic modernity and the relation to classical models, extending the historical context of the lecture’s discussion.

192 words

Radar Profile

The radar profile shows an exceptionally high score in 'qualite_information' and 'niveau_technique', reflecting the sophisticated academic nature of the content. The 'quantite_information' score is also high, indicating a substantial amount of dense material, while 'fiabilite_globale' is strong, underpinned by the rigorous use of primary sources. This creates a balanced profile typical of a specialized scholarly lecture aimed at an informed audience.

Reliability 8/10