Full Description
After the season of the great Renaissance painters, the prestige of the figurative arts grew as never before in history. During the 16th century, the artist went from being a common craftsman to holding a status equal to that of the greatest intellectuals of his time. The relationship between poetry and painting was consolidated in the 17th century, and became close, even competitive, when artists and men of letters confronted each other with the same themes. In this framework, the great poetry of Giovan Battista Marino (Naples, 1569-1625) plays a fundamental role. His compositions are rich in visual suggestions, derived as much from direct contact with the art collections he visited during his itinerant life as from the memory of the images of the great artists of the past. The Galeria (1620), one of his most famous books, projects onto the walls of an imaginary gallery the names of the artists and works of art that marked the poet's courtly experience.
Contents
Introduction (Francesca Cappelletti)
Preface (Lina Bolzoni)
1. Andrea Zezza, Marino's Beginnings and the Relationship between Poetry and Painting
2. Patrizia Tosini, The Rome of Marino
3. Beatrice Tomei, Collecting images, Works and Texts: Marino the Poet and Art Lover
4. Carlo Caruso, Prehistory and History of La Galeria by Giovan Battista Marino
5. Emilio Russo, The Adonis and the Massacre of the Innocents
6. Mickaël Szanto, Marino and Poussin
Sections
I. Poetry and Painting in the Seventeenth Century. Introduction to Giovan Battista Marino
II. La Galeria and Marino's Dialogue with Artists
III. The Massacre of the Innocents
IV. The Adonis between Sacred and Profane
V. Farewell. The Apotheosis of Marino and the Discovery of Nicolas Poussin
Entries (c. 40)
Chronology of Giovan Battista Marino
Anthology of Giovan Battista Marino's texts
Bibliography
Index of names
