Quixotic Frescoes : Cervantes and Italian Renaissance Art

__Quixotic Frescoes__ delves into the politics of imitation, self-censorship, religious ideology expressed through the pictorial, as well as the gendering of art as reflected in Cervantes' work. Focusing On Don Quixote, Frederick A. De Armas Unearths Links Between Cervantes' Text And Frescoes, Paintings, And Sculptures By Italian Artists Such As Cambiaso, Michelangelo, Raphael, And Titian. His Study Seeks To Re-engage The Critics Of Today By Formulating The Link Between Cervantes And The Renaissance Through An Interdisciplinary Dialogue That Establishes A New Set Of Models And Predecessors. This Dialogue Is Used To Explore A Variety Of Issues In Cervantes Including The Absence Of A Single Guiding Pictorial Program, The Doubling Of Archaeological Reconstruction, And The Use Of Ekphrasis As Allusion, Interpolation, And An Integral Component Of The Action. Quixotic Frescoes Delves Into The Politics Of Imitation, Self-censorship, Religious Ideology Expressed Through The Pictorial, As Well As The Gendering Of Art As Reflected In Cervantes' Work. This Detailed And Exhaustive Study Is An Invaluable Contribution To Both Hispanic And Renaissance Studies.--jacket. The Exhilaration Of Italy -- A Museum Of Memories : From Numancia To La Galatea -- At School With The Ancients : Raphael -- The Fourfold Way : Raphael -- Textual Terribilitá : Michelangelo -- The Merchants Of Trebizond : Luca Cambiaso -- Drawing Decorum : Titian -- Dancing With Giants : Philostratus -- A Mannerist Theophany, A Cruel Teichoskopia : Pontormo And Parmigianino -- Dulcinea And The Five Maidens : Zeuxis -- Love's Architecture : Giulio Romano -- The Last Enchantment. Frederick A. De Armas. Includes Bibliographical References (p. [253]-275) And Index.

As a young man, Miguel de Cervantes left his home in Spain and travelled extensively through Italy, experiencing all that the Italian Renaissance had to offer. In his later writings, Cervantes sought to recapture his experience through literature, and literary critics have often pointed to Italian texts as models for Cervantes’ writing. The art of the period, however, has seldom been examined in this context.

Focusing on Don Quixote, Frederick A. de Armas unearths links between Cervantes’ text and frescoes, paintings, and sculptures by Italian artists such as Cambiaso, Michelangelo, Raphael, and Titian. His study seeks to re-engage the critics of today by formulating the link between Cervantes and the Renaissance through an interdisciplinary dialogue that establishes a new set of models and predecessors. This dialogue is used to explore a variety of issues in Cervantes including the absence of a single guiding pictorial program, the doubling of archaeological reconstruction, and the use of ekphrasis as allusion, interpolation, and an integral component of the action. Quixotic Frescoes delves into the politics of imitation, self-censorship, religious ideology expressed through the pictorial, as well as the gendering of art as reflected in Cervantes’ work. This detailed and exhaustive study is an invaluable contribution to both Hispanic and Renaissance studies.

As a young man, Miguel de Cervantes left his home in Spain and travelled extensively through Italy, experiencing all that the Italian Renaissance had to offer. In his later writings, Cervantes sought to recapture his experience through literature, and literary critics have often pointed to Italian texts as models for Cervantes' writing. The art of the period, however, has seldom been examined in this context. Focusing on Don Quixote , Frederick A. de Armas unearths links between Cervantes' text and frescoes, paintings, and sculptures by Italian artists such as Cambiaso, Michelangelo, Raphael, and Titian. His study seeks to re-engage the critics of today by formulating the link between Cervantes and the Renaissance through an interdisciplinary dialogue that establishes a new set of models and predecessors. This dialogue is used to explore a variety of issues in Cervantes including the absence of a single guiding pictorial program, the doubling of archaeological reconstruction, and the use of ekphrasis as allusion, interpolation, and an integral component of the action. Quixotic Frescoes delves into the politics of imitation, self-censorship, religious ideology expressed through the pictorial, as well as the gendering of art as reflected in Cervantes' work. This detailed and exhaustive study is an invaluable contribution to both Hispanic and Renaissance studies. "Focusing on Don Quixote, Frederick A. de Armas unearths links between Cervantes' text and frescoes, paintings, and sculptures by Italian artists such as Cambiaso, Michelangelo, Raphael, and Titian. His study seeks to re-engage the critics of today by formulating the link between Cervantes and the Renaissance through an interdisciplinary dialogue that establishes a new set of models and predecessors. This dialogue is used to explore a variety of issues in Cervantes including the absence of a single guiding pictorial program, the doubling of archaeological reconstruction, and the use of ekphrasis as allusion, interpolation, and an integral component of the action. Quixotic Frescoes delves into the politics of imitation, self-censorship, religious ideology expressed through the pictorial, as well as the gendering of art as reflected in Cervantes' work. This detailed and exhaustive study is an invaluable contribution to both Hispanic and Renaissance studies."--Résumé de l'éditeur "Focusing on Don Quixote, Frederick A. de Armas unearths links between Cervantes' text and frescoes, paintings, and sculptures by Italian artists such as Cambiaso, Michelangelo, Raphael, and Titian. His study seeks to re-engage the critics of today by formulating the link between Cervantes and the Renaissance through an interdisciplinary dialogue that establishes a new set of models and predecessors. This dialogue is used to explore a variety of issues in Cervantes including the absence of a single guiding pictorial program, the doubling of archaeological reconstruction, and the use of ekphrasis as allusion, interpolation, and an integral component of the action. Quixotic Frescoes delves into the politics of imitation, self-censorship, religious ideology expressed through the pictorial, as well as the gendering of art as reflected in Cervantes' work. This detailed and exhaustive study is an invaluable contribution to both Hispanic and Renaissance studies"--Provided by publisher. Contents 5 Illustrations 7 Preface 11 1. The Exhilaration of Italy 21 2. A Museum of Memories: From Numancia to La Galatea 32 3. At School with the Ancients: Raphael 47 4. The Fourfold Way: Raphael 70 5. Textual Terribilitá: Michelangelo 89 6. The Merchants of Trebizond: Luca Cambiaso 111 7. Drawing Decorum: Titian 131 8. Dancing with Giants: Philostratus 152 9. A Mannerist Theophany / A Cruel Teichoskopia: Pontormo and Parmigianino 171 10. Dulcinea and the Five Maidens: Zeuxis 188 11. Love's Architecture: Giulio Romano 207 12. The Last Enchantment: Epilogue 223 Notes 231 Works Cited 271 Index 295 Italian sojourns were almost de rigueur for Spanish poets and other thinkers during the Golden Age.