Soru

In his study of Renaissance draftsmanship, art historian Matteo Vieri argues that the mid-fifteenth-century adoption of mechanical cartoon transfer fundamentally degraded the spontaneous linear invention seen in earlier Trecento sinopie underdrawings. While Vieri’s formal analysis of the Pisa Camposanto murals provides an illuminating and meticulous excavation of workshop practice, his overarching narrative regarding the decline of artistic autonomy remains somewhat overstated. By attributing stylistic standardization almost exclusively to mechanical shortcuts, Vieri largely neglects the contemporary ecclesiastic mandates that enforced strict doctrinal uniformity across narrative cycles. Nonetheless, his thesis serves as a vital corrective to the prevailing view that cartoon transfer was an uncomplicated technological advance without aesthetic consequence.

Which of the following phrases best characterizes the author’s attitude toward Vieri’s study of Renaissance draftsmanship?