Abstract
This essay extrapolates a method of connoisseurship from Federico Zeri's writings on attributions.1 His practice unfolds in a double-edged action. Through language, Zeri takes individual elements out of paintings and relates them to each other, implying a system in which the pictorial elements he detects are represented by concepts. My research describes his linguistic operations, highlighting some of their effects, epistemological shortcomings and dependence on cultural traditions.
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