Beställningsvara. Skickas inom 5-8 vardagar. Fri frakt för medlemmar vid köp för minst 249 kr.
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.
Table of ContentsAcknowledgmentsviiiPreface1. Introduction: The Artist as Murderer2. The Image of Parrhasius3. Parrhasius and the Olynthian Slave4. The Afterlife of Seneca’s Tale5. Tormented Models6. Michelangelo Murders a Model7. Carpenter’s Tale8. The Tale Retold9. Variations on the Tale10. Professional Opinions11. A Turkish Spy on Giotto12. A Legend of a Sculptor13. Parrhasius in Love14. The Return of Parrhasius15. “The Man in Purple”16. Socrates and Parrhasius17. The Return of Michelangelo18. Criminal Artists19. Death and Detachment20. Afterword: Art and LifeAppendix 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”NotesBibliographyIndex