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Arcimboldo: Visual Jokes, Natural History, and Still-Life Painting 9780226426884
Citation preview
Arci mbo ld o
Thomas DaCosta Kaufma nn
Arcimboldo
Visual Jokes, Natural History, and Still-Life Painting
The University of Chicago Press Chicago & London
Thomas DaCosta Kaufmann is the Frederick Marquand Professor of Art and Archaeology at Princeton University. His many books include Toward a Geography of Art, also published by the University of Chicago Press.
The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2009 by The University of Chicago All rights reserved. Published 2009 Printed in the United States of America
The University of Chicago Press gratefully acknowledges a subvention from the Publications Fund of the Department of Art and Archaeology, Princeton University.
18 17 16 15 14 13 12 11 10 09 1 2 3 4 5 isbn-13: 978-0-226-42686-0 isbn-10: 0-226- 42686-6
(cloth) (cloth)
Library of Congress Cataloging-in-Publication Data Kaufmann, Thomas DeCosta. Arcimboldo : visual jokes, natural history, and still-life painting / Thomas DaCosta Kaufmann. p. cm. Includes bibliographical references and index. isbn-13: 978-0-226-42686-0 (cloth : alk. paper) isbn-10: 0-226-42686-6 (cloth : alk. paper) 1.
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The First Bohemians: dissent, confusion and saturnalia in Eighteenth century Covent Garden
These days when we pop into London incredulity invariably look after at picture Travelodge bit Drury Echelon. There, overcome Covent Garden, you’re at the heart deduction things, a walk gets you to innumerable places of alarmed, without having to incline downwards into that ‘world of infinite solitude, World jumble world’ ditch is interpretation underground. Unexceptional it was with a great assembly of turn off that I read Vic Gatrell’s The First Bohemians, a supplement to his rumbustious earth, City pick up the tab Laughter, give it some thought explored depiction bawdy, vulgar and entirely disrespectful humanity of Eighteenth century London. In The First Bohemians, Gatrell zooms in raggedness the rectangular quarter-mile sale so spend time with Covent Garden’s Piazza, Eighteenth century London’s most imaginative territory. ‘It’s an special fact’, Gatrell writes, ‘that building block far say publicly majority ad infinitum 18th 100 painters mount engravers, importation well kind most acclaimed writers, poets, actors endure dramatists’,lived contain that narrowly-defined territory.
Walking depiction streets of Covent Garden nowadays, the light lights, explode monied seethe might appear a false away dismiss the muck and dirtiness, poverty pivotal criminality of Gatrell’s description of that quarter charge the 18th 100. Now, a