The 4th century BC Greek painter Parrhasius murdered his model--an old man who was his slave--to achieve, so the story goes, a more lifelike depiction of nature. The tale has inspired similar, more elaborate stories about both well known and obscure artists--including Leonardo da Vinci, Michelangelo and Rubens. Elements of the tale have appeared in theater, literature and film, as well as in comments by painters, historians, critics and anatomists. Challenging the archetype of the artist as a sympathetic lover of nature, this book examines the artist as cruel and murderous in service of art…mehr
The 4th century BC Greek painter Parrhasius murdered his model--an old man who was his slave--to achieve, so the story goes, a more lifelike depiction of nature. The tale has inspired similar, more elaborate stories about both well known and obscure artists--including Leonardo da Vinci, Michelangelo and Rubens. Elements of the tale have appeared in theater, literature and film, as well as in comments by painters, historians, critics and anatomists. Challenging the archetype of the artist as a sympathetic lover of nature, this book examines the artist as cruel and murderous in service of art and ambition, and indirectly addresses a different understanding of the relationship between art and life.
The late Norman E. Land lived in Columbia, Missouri.
Inhaltsangabe
Table of Contents Acknowledgments viii Preface 1. Introduction: The Artist as Murderer 2. The Image of Parrhasius 3. Parrhasius and the Olynthian Slave 4. The Afterlife of Seneca's Tale 5. Tormented Models 6. Michelangelo Murders a Model 7. Carpenter's Tale 8. The Tale Retold 9. Variations on the Tale 10. Professional Opinions 11. A Turkish Spy on Giotto 12. A Legend of a Sculptor 13. Parrhasius in Love 14. The Return of Parrhasius 15. "The Man in Purple" 16. Socrates and Parrhasius 17. The Return of Michelangelo 18. Criminal Artists 19. Death and Detachment 20. Afterword: Art and Life Appendix A: Giovanni Paolo Marana, "A Turkish Spy on Giotto" Appendix B: Adelbert von Chamisso, "The Crucifix: An Artist's Legend" Appendix C: Nathaniel Parker Willis, "Parrhasius" Appendix D: Espy W.H. Williams, "Parrhasius; or, Thriftless Ambition" Appendix E: Pierre Louÿs, "The Man in Purple" Notes Bibliography Index
Table of Contents Acknowledgments viii Preface 1. Introduction: The Artist as Murderer 2. The Image of Parrhasius 3. Parrhasius and the Olynthian Slave 4. The Afterlife of Seneca's Tale 5. Tormented Models 6. Michelangelo Murders a Model 7. Carpenter's Tale 8. The Tale Retold 9. Variations on the Tale 10. Professional Opinions 11. A Turkish Spy on Giotto 12. A Legend of a Sculptor 13. Parrhasius in Love 14. The Return of Parrhasius 15. "The Man in Purple" 16. Socrates and Parrhasius 17. The Return of Michelangelo 18. Criminal Artists 19. Death and Detachment 20. Afterword: Art and Life Appendix A: Giovanni Paolo Marana, "A Turkish Spy on Giotto" Appendix B: Adelbert von Chamisso, "The Crucifix: An Artist's Legend" Appendix C: Nathaniel Parker Willis, "Parrhasius" Appendix D: Espy W.H. Williams, "Parrhasius; or, Thriftless Ambition" Appendix E: Pierre Louÿs, "The Man in Purple" Notes Bibliography Index
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