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.
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