Winckelmann, allegory and the overcoming of 'paragone' in arts

Abstract

The present article analyses Winckelmann’s concept of Allegory. It reveals how the author makes a very particular use of the word, adopting it primarily in his analysis of paintings. In Winckelmann’s perception, the concept of Allegory in painting seems to favor the realization of the moto of ut picture poesis, as well as the introduction of classical sculpture as models for painting. On the other hand, Winckelmann’s model implied in a rejection of the narrative models privileged by classical tradition since the 17th century, in favor of a model adopted by important artists of the baroque tradition.