"[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 Toibin, 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.
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