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 F???te Champ???tre . Focusing on ...
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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 F???te Champ???tre . 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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New. 0271013036. *** FREE UPGRADE to Courier/Priority Shipping Upon Request ***-*** IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT-FLAWLESS COPY, BRAND NEW, PRISTINE, NEVER OPENED----IMPORTANT: Interior text is clean, tight, and Unmarked--177 pp--Pages are intact and tight to the spine. --"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 Fête Champêtre. 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. " from the publisher--with a bonus offer--;
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