By Andrea Emiliani
Los angeles presente pubblicazione è dedicata a Guido Reni, pittore di fama già nel Seicento, descrittore di una sorta di socialità della bellezza dell'anima e delle forme.
La vita e le opere
La fortuna critica
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Engrossing essays that replicate the author’s sizeable and sophisticated wisdom of the realm. subject matters diversity from the spiritual rites of the Aztecs to fashionable american portray, from jap artwork and faith to like and eroticism. Translated by means of Helen Lane.
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From the dirt jacket:
In his seek for the universal hyperlink among
literature and the visible arts. Professor Praz
draws upon the ample proof of lengthy
mutual realizing and correspondence be
tween the sister alts even supposing parallels of
theme and thought are abundant, be is no longer
primarily involved with those. particularly, he
examines the shut dating or air de fanulle
between the expression of the arts m any given
Each epoch has “ its abnormal handwriting
or handwritings, which, if one may perhaps interpret
them, might display a personality, even a physi
cal visual appeal. ” even though handwriting is
taught and a few of its features therefore
belong to the normal kind of the interval, the
personality of the author does no longer fail to pierce
through. anything of the related style, the au
thor proposes, happens in paintings. The kinship of
literature and portray rests on this circum
stance: a paintings of paintings, even if visible or liter
ary, needs to use the special “ handwriting” of
its specific age, even as its originality pierces
through this handwriting.
The likeness among the arts inside a number of
periods o f historical past can eventually be traced,
then, to structural similarities— similarities
that come up out of the attribute approach in
which the humans of a definite epoch see and
memorize proof aesthetically. Mnemosyne, at
once the goddess of reminiscence and the mom
of the muses, as a result presides over this view
of ihe arts. In illustrating her iniluence. Pro
fessor Praz levels extensively via Western
sources, either literary and pictorial. There are
1 2 1 illustrations accompanying the text.
M A R IO P R A Z is Professor of English Lan
guage and Literature at the college of
Rome. His previous books comprise The Roman
tic anguish, reports in Seventeenth-Century
imagery, and The Flaming Heart.
ackct layout by way of P J. Conkwright
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