paragraph on archin boldo and his style of art .
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Giuseppe Arcimboldo also spelled Arcimboldi) (1526 or 1527 – 11 July 1593) was an Italian painter best known for creating imaginative portrait heads made entirely of objects such as fruits, vegetables, flowers, fish and books.
Born1527
Milan, Duchy of Milan
Died11 July 1593 (aged 66–67)
Milan, Duchy of Milan
NationalityItalianKnown forPainting
Notable work
The Librarian, 1566
Vertumnus, 1590–1591
Flora, ca. 1591
These works form a distinct category from his other productions. He was a conventional court painter of portraits for three Holy Roman emperors in Vienna and Prague, also producing religious subjects and, among other things, a series of coloured drawings of exotic animals in the imperial menagerie. He specialized in grotesque symbolical compositions of fruits, animals, landscapes, or various inanimate objects arranged into human forms.[1] The still-life portraits were clearly partly intended as whimsical curiosities to amuse the court, but critics have speculated as the degree of serious engagement with Renaissance Neo-Platonism or other intellectual currents that they have.Giuseppe Arcimboldo did not leave written certificates on himself or his artwork. After the deaths of Arcimboldo and his patron—the emperor Rudolph II—the heritage of the artist was quickly forgotten, and many of his works were lost. They were not mentioned in the literature of the 17th and 18th centuries. Only in 1885 did the art critic K. Kasati publish the monograph "Giuseppe Arcimboldi, Milan Artist" in which the main attention was given to Arcimboldi's role as a portraitist.[9]
With the advent of surrealism its theorists paid attention to the formal work of Arcimboldo, and in the first half of the 20th century many articles were devoted to his heritage. Gustav Hocke [de] drew parallels between Arcimboldo, Salvador Dalí, and Max Ernst's works. A volume monograph of B. Geyger and the book by F. Legrand and F. Xu were published in 1954.
Since 1978 T. DaCosta Kaufmann was engaged in Arcimboldo's heritage, and wrote of the artist defending his dissertation "Variations on an imperial subject". His volume work, published in 2009, summed up the attitude of modern art critics towards Arcimboldo. An article published in 1980 by Roland Barthes was devoted to Arcimboldo's works.[9]
Archimboldo's relation with surrealism was emphasized at landmark exhibitions in New York ("Fantastic art, dada, surrealism", 1937) and in Venice ("Arcimboldo's Effect: Evolution of the person in painting from the XVI century", Palazzo Grassi, 1987) where Arcimboldo's allegories were presented.[10] The largest encyclopedic exhibition of Arcimboldo's heritage, where about 150 of his works were presented, including graphics, was held in Vienna in 2008. In spite of the fact that very few works of Arcimboldo are available in the art market, their auction cost is in the range of five to 10 million dollars. Experts note that it is very modest for an artist at such a level of popularity.[11][12]
Arcimboldo's art heritage is badly identified, especially as it concerns his early works and pictures in traditional style. In total about 20 of his pictures remain, but many more have been lost, according to mentions of his contemporaries and documents of the era. His cycles Four Elements and Seasons, which the artist repeated with little changes, are most known. Some of his paintings include The Librarian, The Jurist, The Cook, Cupbearer, and other pictures.[13] Arcimboldo's works are stored in the state museums and private collections of Italy (including Uffizi Gallery), France (Louvre), Austria, the Czech Republic, Sweden, and in the US.
Art interpretationsEdit
The main object of modern art critics interpretation are the "curious" paintings of Arcimboldo whose works, according to V. Krigeskort, "are absolutely unique".[14] Attempts of interpretation begin with judgments of the cultural background and philosophy of the artist, however a consensus in this respect is not developed. B. Geyger, who for the first time raised these questions, relied mainly on judgments of contemporaries—Lomazzo, Comanini, and Morigia, who used the terms "scherzi, grilli, and capricci" (respectively, "jokes", "whims", "caprices").[10] Geyger's monograph is entitled: "Comic pictures of Giuseppe Arcimboldo". Geyger considered the works of the artist as inversion, when the ugliness seems beautiful, or, on the contrary, as the disgrace exceeding the beauty, entertaining the regal customer.[15] A similar point of view was stated by Barthes, but he reduced works of the artist to the theory of language, believing that fundamentals of Arcimboldo's art philosophy is linguistic, because without creating new signs he confused them by mixing and combining elements that then played a role in the innovation of language.
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