Críticas:
In The Faun in the Garden, Barolsky offers a new reading of Vasari, Condivi, and Michelangelo which substantially enlarges our understanding of Renaissance biography, autobiography, and the ideas and attitudes about artistic creativity. Barolsky s view of Vasari as a writer of fiction is far more sophisticated and consequential than anything else written about this crucial figure in the history of Renaissance art. Moreover, Barolsky has intelligently and sensitively revealed how artistic biography and autobiography are historical-poetic-imaginative constructs which, if read with care and learning, can reveal much about the fundamental nature of Renaissance art. All this is done in spare prose of considerable lucidity always free of opaque theoretical jargon. This is a stimulating, thought-provoking book. Bruce Cole, Indiana University"
Reseña del editor:
Sequel to Barolsky's Vasari trilogy and pendant volume in particular to Michelangelo's Nose, this book continues the author's examination of the poetic imagination of Michelangelo's autobiography in relation to his art and poetry. With his usual brio, Barolsky suggests that Michelangelo's concerns with poetic origins are linked in subtle, diverse ways to the meanings of Botticelli's Primavera, Signorelli's Pan, Piero di Cosimo's Prometheus pictures, Raphael's Parnassus, and Titian's Fete Champetre. Focusing on the unexpected importance for Michelangelo of the pastoral, Barolsky illuminates the role of Ovid both in the artist's biography and in his theory and practice of art. Conceiving his book as a contribution to our understanding of poetic imagination in the age of the Renaissance, Barolsky elaborates here on his previous discussion of Renaissance biography in the tradition of Boccaccio's fables."
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