Giorgio Vasari remarked that Luca Signorelli was "as famous a painter in Italy as any one has ever been." Mentored by Piero della Francesca, he developed a unique style which was characterized by violent and torturous movement of the figures and complex iconography. In this continuation of our successful Renaissance painters' series, Signorelli experts Tom Henry and Laurence Kanter offer a thorough consideration of the artist's entire body of painting in the first comprehensive treatment of his work.
DigiCat Publishing presents to you this special edition of "Luca Signorelli" by Maud Cruttwell. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.
Definitive in its scholarship and thrilling in its scope, this lavishly illustrated volume offers the first book-length study of Luca Signorelli (1450-1523), sometimes described as the "least-known major artist" of the Renaissance. Twenty years of painstaking archival research have produced this portrait of Signorelli in public and private life--an adventurous painter who believed art was divinely inspired, and an affectionate family man who participated energetically in public life. In his paintings--of which the Last Judgement in Orvieto cathedral is his undisputed masterpiece--Signorelli integrated his observations of daily life with a fresh and sensitive approach to representing religious subjects. A student of Piero della Francesca, Signorelli was influential into the early 16th century, though he was ultimately eclipsed by his friends Raphael and Michelangelo. Signorelli's work is represented in museums around the world, and this book now offers new audiences and scholars a complete picture of one of the Renaissance's most significant and intriguing artists.
"[An] unusual meditation on sex, death, art, and Jewishness. . . . Weber weaves in musings on his own sexual and religious experiences, creating a freewheeling psychoanalytic document whose approach would surely delight the doctor, even if its conclusions might surprise him." —New Yorker "Freud's Trip to Orvieto is at once profound and wonderfully diverse, and as gripping as any detective story. Nicholas Fox Weber mixes psychoanalysis, art history, and the personal with an intricacy and spiritedness that Freud himself would have admired." —John Banville, author of The Sea and The Blue Guitar "This is an ingenious and fascinating reading of Freud's response to Signorelli's frescoes at Orvieto. It is also a meditation on Jewish identity, and on masculinity, memory, and the power of the image. It is filled with intelligence, wit, and clear-eyed analysis not only of the paintings themselves, but how we respond to them in all their startling sexuality and invigorating beauty." —Colm Tóibín, author of Brooklyn and Nora Webster After a visit to the cathedral at Orvieto in Italy, Sigmund Freud deemed Luca Signorelli's frescoes the greatest artwork he'd ever encountered; yet, a year later, he couldn't recall the artist's name. When the name came back to him, the images he had so admired vanished from his mind's eye. This is known as the "Signorelli parapraxis" in the annals of Freudian psychoanalysis and is a famous example from Freud's own life of his principle of repressed memory. What was at the bottom of this? There have been many theories on the subject, but Nicholas Fox Weber is the first to study the actual Signorelli frescoes for clues. What Weber finds in these extraordinary Renaissance paintings provides unexpected insight into this famously confounding incident in Freud's biography. As he sounds the depths of Freud's feelings surrounding his masculinity and Jewish identity, Weber is drawn back into his own past, including his memories of an adolescent obsession with a much older woman. Freud's Trip to Orvieto is an intellectual mystery with a very personal, intimate dimension. Through rich illustrations, Weber evokes art's singular capacity to provoke, destabilize, and enchant us, as it did Freud, and awaken our deepest memories, fears, and desires. Nicholas Fox Weber is the director of the Josef and Anni Albers Foundation and author of fourteen books, including biographies of Balthus and Le Corbusier. He has written for the New Yorker, New York Times, Los Angeles Times, Wall Street Journal, Le Monde, ARTnews, Town & Country, and Vogue, among other publications.
Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.
