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«Perpetuum mobile»: Comanini e Arcimboldi dal Figino alla Mistica Theologia

digital «Perpetuum mobile»: Comanini e Arcimboldi dal Figino alla Mistica Theologia
Articolo
rivista ARTE LOMBARDA
fascicolo ARTE LOMBARDA - 2015 - 1-2
titolo «Perpetuum mobile»: Comanini e Arcimboldi dal Figino alla Mistica Theologia
autore
editore Vita e Pensiero
formato Articolo | Pdf
online da 12-2015
issn 0004-3443 (stampa)
€ 6,00

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This essay aims at reconsidering the figure of Gregorio Comanini through an analysis of the treatise dedicated to Ambrogio Figino (1591) and a short incursion into the Mistica Theologia (1590). The critical reading of Comanini’s works is carried out relating their complete examination to the compositive logics adopted in painting by Giuseppe Arcimboldi, to some aspects of Torquato Tasso’s poetics (with a focus on the Dialoghi) and to art theory texts extracted from authors such as Lomazzo (1584, 1590) and Armenini (1586). Is thus retraced the development of Comanini’s reasoning about the links between art, literature and imitation and about the concept of idolo, setting these elements within the Aristotelian-Platonic coordinates inherited through humanistic culture. In this perspective, great importance is given to the features of the dialogical structure, trying to point out how the author, inspired by the newness of Arcimboldi’s inventions, actually moulds the linearity of a didacticallyoriented discourse to introduce in it conspicuous references to the cyclicity involved in natural processes and observed through the lens of the typical Renaissance universal curiositas. Moreover, it is noticed how these components seem to be strictly connected to a concept of divinity which informs both the creative act (for the artist) and the exercise of power (for the monarch). It is as well underlined the coherence between this theoretical basis and Comanini’s stylistic choices, that incline towards theatrical, evocative manners, definitely answering to the request for enargeia furthered by Counter-Reformation rhetoric but, nevertheless, indulging in the taste for artificio emerging in the late 16th century, both in words and images.

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