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A hierarchy of genres is any formalization which ranks different genres in an art form in terms of their prestige and cultural value. In literature, the epic was considered the highest form, for the reason expressed by Samuel Johnson in his ''Life of John Milton'': "By the general consent of criticks, the first praise of genius is due to the writer of an epick poem, as it requires an assemblage of all the powers which are singly sufficient for other compositions." Below that came lyric poetry, and comic poetry, with a similar ranking for drama. The novel took a long time to establish a firm place in the hierarchy, doing so only as belief in any systematic hierarchy of forms expired in the 19th century. In music, settings of words were accorded a higher status than merely instrumental works, at least until the Baroque period, and opera retained a superior status for much longer. The status of works also varies with the number of players and singers involved, with those for large forces, which are certainly more difficult to write and more expensive to perform, given higher status. Any element of comedy reduced the status of a work, though, as in other art forms, often increasing its popularity. The hierarchies in figurative art are those initially formulated for painting in 16th century Italy, which held sway with little alteration until the early 19th century. These were formalized and promoted by the academies in Europe between the 17th century and the modern era, of which the most influential became the French Académie de peinture et de sculpture, which held a central role in Academic art. The fully developed hierarchy distinguished between: *History painting, including narrative religious mythological and allegorical subjects *Portrait painting *Genre painting or scenes of everyday life *Landscape and cityscape (landscapists were called "common footmen in the Army of Art" by the Dutch theorist Samuel van Hoogstraten) *Animal painting *Still life The hierarchy was based on a distinction between art that made an intellectual effort to "render visible the universal essence of things" (''imitare'' in Italian) and that which merely consisted of "mechanical copying of particular appearances" (''ritrarre'').〔Bass, 36 (Google books )〕 Idealism was privileged over realism in line with Renaissance Neo-Platonist philosophy. The term is mostly used within the field of painting, and from the High Renaissance onwards, by which time painting had asserted itself as the highest form of art. This had not been the case in Medieval art and the art-commissioning sectors of society took a considerable period to fully accept this view. The Raphael Cartoons are a clear example of the continuing status of tapestry, the most expensive form of art in the 16th century. In the Early Medieval period lavish pieces of metalwork had typically been the most highly regarded, and valuable materials remained an important ingredient in the appreciation of art until at least the 17th century. Until the 19th century the most extravagant objéts d'art remained more expensive, both new and on the art market, than all but a few paintings. Classical writings which valued the supreme skills of individual artists were influential, as well as developments in art which allowed the Renaissance artist to demonstrate his skill and invention to a greater degree than was usually possible in the Middle Ages. ==Renaissance art== The hierarchy grew out of the struggle to gain acceptance of painting as one of the Liberal arts, and then controversies to establish an equal or superior status within them with architecture and sculpture. These matters were considered of great importance by artist-theorists such as Leon Battista Alberti, Leonardo da Vinci, and Giorgio Vasari. Against the sculptors, Leonardo argued that the intellectual effort necessary to create an illusion of three-dimensionality made the painters' art superior to that of the sculptor, who could do so merely by recording appearances.〔Blunt, 28, 53-4〕 In his ''Della Pictura'' of 1436 Alberti had argued that multi-figure history painting was the noblest form of art, as being the most difficult, which required mastery of all the others, because it was a visual form of history, and because it had the greatest potential to move the viewer. He placed emphasis on the ability to depict the interactions between the figures by gesture and expression.〔Blunt, 11-12,〕 Theorists of the Early and High Renaissance accepted the importance of representing nature closely, at least until the later writings of Michelangelo, who was strongly influenced by neoplatonism.〔Blunt, 61, 65-74〕 By the time of Mannerist theorists such as Gian Paolo Lomazzo and Federico Zuccari (both also painters) this was far less of a priority. Both emphasized beauty as "something which was directly infused into the mind of man from the mind of God, and existed there independent of any sense-impressions", a view bound to further reduce the status of works depending on realism.〔Blunt, 140-141 (quote, 141)〕 In practice the hierarchy represented little break with either medieval and classical thought, except to place secular history painting in the same class as religious art, and to distinguish (not always clearly) between static iconic religious subjects and narrative figure scenes, giving the latter a higher status. Ideas of decorum also fed into the hierarchy; comic, sordid or merely frivolous subjects or treatment ranked lower than elevated and moral ones. During the Renaissance landscape, genre scenes and still lifes hardly existed as established genres, so discussion of the status or importance of different types of painting was mainly concerned with history subjects as against portraits, initially small and unpretentious, and iconic portrait-type religious and mythological subjects. For most artists some commitment to realism was necessary in a portrait; few could take the high-handed approach of Michelangelo, who largely ignored the actual appearance of the Medici in his Medici Chapel sculptures, supposedly saying that in a thousand years no one would know the difference (a retort Gainsborough is also said to have used, with a shorter timeframe).〔Campbell, 1-2〕 Many portraits were extremely flattering, which could be justified by an appeal to idealism as well as the sitter's vanity; the theorist Armenini〔Giovanni Battista Armenini (1533-1609) ''De vera precetti della pittura'' (1587), " On the True Precepts of the Art of Painting".〕 claimed in 1587 that "portraits by excellent artists are considered to be painted with better style () and greater perfection than others, but more often than not they are less good likenesses".〔Campbell, 23-24 (quote)〕 On the other hand, numbers of courtly sitters and their parents, suitors or courtiers complained that painters entirely failed to do justice to the reality of the sitter.〔Campbell, 38-9〕 The question of decorum in religious art became the focus of intense effort by the Catholic Church after the decrees on art of the Council of Trent of 1563. Paintings depicting biblical events as if they were occurring in the households of wealthy contemporary Italians were attacked, and soon ceased. Until the challenge of Caravaggio at the end of the century, religious art became thoroughly ideal. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「hierarchy of genres」の詳細全文を読む スポンサード リンク
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