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By Thomas DaCosta Kaufmann

In Giuseppe Arcimboldo’s most famed work, grapes, fish, or even the beaks of birds shape human hair. A pear stands in for a man’s chin. Citrus end result sprout from a tree trunk that doubles as a neck. all types of usual phenomena come jointly on canvas and panel to collect the unusual heads and faces that represent certainly one of Renaissance art’s such a lot impressive oeuvres. the 1st significant research in a iteration of the artist at the back of those outstanding work, Arcimboldo tells the singular tale in their creation. 

Drawing on his thirty-five-year engagement with the artist, Thomas DaCosta Kaufmann starts off with an outline of Arcimboldo’s lifestyles and paintings, exploring the artist’s early years in sixteenth-century Lombardy, his grounding in Leonardesque traditions, and his tenure as a Habsburg courtroom portraitist in Vienna and Prague. Arcimboldo then trains its concentrate on the prestigious composite heads, forthcoming them as visible jokes with severe underpinnings—images that poetically show pictorial wit whereas conveying an allegorical message. as well as probing the humanistic, literary, and philosophical dimensions of those items, Kaufmann explains that they embrace their creator’s non-stop engagement with nature portray and traditional background. He unearths, in reality, that Arcimboldo painted many extra nature experiences than students have realized—a discovering that considerably deepens present interpretations of the composite heads.

Demonstrating the formerly neglected value of those works to average background and still-life portray, Arcimboldo ultimately restores the artist’s fabulous visible jokes to their rightful position within the heritage of either technological know-how and art.

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Arcimboldo: Visual Jokes, Natural History, and Still-Life Painting by Thomas DaCosta Kaufmann


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