Quixotic Frescoes : : Cervantes and Italian Renaissance Art / / Frederick A. de Armas.

• Superior document: Title is part of eBook package: De Gruyter University of Toronto Press eBook-Package Backlist 2000-2013
• VerfasserIn: de Armas, Frederick A.,
• Place / Publishing House: Toronto : : University of Toronto Press, , [2016]; ©2006
• Year of Publication: 2016
• Language: English
• Physical Description: 1 online resource (344 p.)
• Other title: Frontmatter --; Contents --; Illustrations --; Preface --; 1. The Exhilaration of Italy --; 2. A Museum of Memories: From Numancia to La Galatea --; 3. At School with the Ancients: Raphael --; 4. The Fourfold Way: Raphael --; 5. Textual Terribilitá: Michelangelo --; 6. The Merchants of Trebizond: Luca Cambiaso --; 7. Drawing Decorum: Titian --; 8. Dancing with Giants: Philostratus --; 9. A Mannerist Theophany / A Cruel Teichoskopia: Pontormo and Parmigianino --; 10. Dulcinea and the Five Maidens: Zeuxis --; 11. Love's Architecture: Giulio Romano --; 12. The Last Enchantment: Epilogue --; Notes --; Works Cited --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9781442678965; 9783110490954
• DOI: 10.3138/9781442678965
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Frederick A. de Armas.

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.