In this companion to his The Cornucopian Mind and the Baroque Unity of the Arts, Maiorino examines the links between Renaissance and the modern versions of the Groteseque.In this interdisciplinary study, the term 'eccentricity' refers to styles of playful extravagance. Maiorino focuses on the rhetorical figures of excess employed by a critic-historian (Giorgio Vasari), on the willful artificiality of a painter (Giuseppe Arcimboldo), and on the programmatic and interpretive commentary of a theorist (Gregorio Comanini).Maiorino draws subtle and persuasive connections between the images he discusses and the grotesque 'face' of sixteenth-century poetics and rhetoric. He sets the mannerist and the grotesque against the philosophical seriousness of Renaissance humanism, interpreting them as a celebration of the ludic and fantastic possibilities of art itself. Aiming at pleasure rather than instruction, this art plays on the boundaries of the natural and the artificial, the credible and the impossible, taking delight in parody, excess, disjunction, and exaggeration.
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Editorial Reviews
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In many ways, like its subject, marvelously idiosyncratic and playful, this book will make an important contribution to our understanding of the rhetoric of mannerism. --Ernest B. Gilman, NYU
Ranging widely in truly breathtaking fashion over a body of diverse visual and verbal texts, both Renaissance and modern, Maiorino manages to say much that is new and perceptive about not only Arcimboldo--his are the best pages I have read on this artist--but also on the Grotesque itself and on the links between Renaissance and modern versions of Grotesque. Maiorino is unique in combining a thorough knowledge of the Renaissance texts with full awareness of recent literary theory; hence his work is likely to prove especially welcome to several audience's. --James V. Mirollo, Columbia University --This text refers to the Paperback edition.
Ranging widely in truly breathtaking fashion over a body of diverse visual and verbal texts, both Renaissance and modern, Maiorino manages to say much that is new and perceptive about not only Arcimboldo--his are the best pages I have read on this artist--but also on the Grotesque itself and on the links between Renaissance and modern versions of Grotesque. Maiorino is unique in combining a thorough knowledge of the Renaissance texts with full awareness of recent literary theory; hence his work is likely to prove especially welcome to several audience's. --James V. Mirollo, Columbia University --This text refers to the Paperback edition.
About the Author
Giancarlo Maiorino is Professor of Comparative Literature at Indiana University. He is the author of Adam "New Born and perfect": The Renaissance Promise of Eternity (Indiana, 1987) and The Cornucopian Mind and the Baroque Unity of the Arts (Penn State, 1990).
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Key Phrases - Statistically Improbable Phrases (SIPs):
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convex mirror, homo rhetoricus Key Phrases - Capitalized Phrases (CAPs): (learn more)
The Portrait of Eccentricity, Giuseppe Arcimboldo, The Fabric of Adorable Improbabilities, Artful Tautologies, The Unsightly Muselinda, Leonardo da Vinci, Arcimboldo's Panegyric, The Librarian, The Rhetoric of Excess, The Liminality of Pictorial Delight, The Water, Institutio Oratoria, Kunsthistorisches Museum, Giulio Romano, Giorgio de Chirico, The Daedalian Punster, Vincenzo Danti, Isidore of Seville, Roland Barthes, Mario Praz, The Winter, Middle Ages, The Fire Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
convex mirror, homo rhetoricus Key Phrases - Capitalized Phrases (CAPs): (learn more)
The Portrait of Eccentricity, Giuseppe Arcimboldo, The Fabric of Adorable Improbabilities, Artful Tautologies, The Unsightly Muselinda, Leonardo da Vinci, Arcimboldo's Panegyric, The Librarian, The Rhetoric of Excess, The Liminality of Pictorial Delight, The Water, Institutio Oratoria, Kunsthistorisches Museum, Giulio Romano, Giorgio de Chirico, The Daedalian Punster, Vincenzo Danti, Isidore of Seville, Roland Barthes, Mario Praz, The Winter, Middle Ages, The Fire Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
3
books
cite this book:
- Art And The Committed Eye: The Cultural Functions Of Imagery (Cultural Studies) by Richard Leppert in Back Matter (1), and Back Matter (2)
- Court, Cloister, and City: The Art and Culture of Central Europe, 1450-1800 by Thomas DaCosta Kaufmann in Back Matter
- The Face on the Screen: Death, Recognition & Spectatorship (Film Studies Intellect) by Therese Davis in Back Matter
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