Palladio (Penguin Art & Architecture)（企鹅艺术与建筑）

Palladio (1508-80) combined classical restraint with constant inventiveness. In this study, Professor Ackerman sets Palladio in the context of his age – the Humanist era of Michelangelo and Raphael, Titian and Veronese – and examines each of the villas, churches and palaces in turn and tries to penetrate to the heart of the Palladian miracle. Palladio’s theoretical writings are important and illuminating, he suggests, yet they never do justice to the intense intuitive skills of “a magician of light and colour”.

Indeed, as the photographs in this book reveal, Palladio was “as sensual, as skilled in visual alchemy as any Venetian painter of his time”, and his countless imitators have usually captured the details, but not the essence of his style. There are buildings all the way from Philadelphia to Leningrad which bear witness to Palladio’s “permanent place in the making of architecture”, yet he also deserves to be seen on his own terms.

Palladio (1508-80) 将经典的克制与不断的创造力相结合。在这项研究中，阿克曼教授将帕拉第奥置于他所处时代的背景——米开朗基罗和拉斐尔、提香和委罗内塞的人文主义时代——并依次考察了每座别墅、教堂和宫殿，并试图深入了解帕拉第奥奇迹的核心. 他认为，帕拉迪奥的理论著作是重要且富有启发性的，但它们从未充分体现“光与色魔术师”的强烈直觉技能。

的确，正如本书中的照片所揭示的那样，帕拉迪奥“与他那个时代的任何威尼斯画家一样感性，在视觉炼金术方面的娴熟技巧”，他的无数模仿者通常捕捉到了细节，但没有捕捉到他风格的精髓。从费城到列宁格勒一路上都有建筑见证了帕拉迪奥“在建筑中的永久地位”，但他也值得以他自己的方式被看到。