In order for the description of works of art to find a place in modern lyric poetry, it was necessary to go beyond the classicist primacy of poetry over painting and recognise an affinity and mutual exchange between sister arts. With his Rime nuove of 1603, the poet Cesare Rinaldi, a friend of the Carraccis and Guido Reni, inaugurated a new possibility of dialogue between painting and poetry on a lyric and subjective basis, placing at the centre of that book of rhymes the luminous myth of Barbara as an image of sentiment polemi¬cally beyond “true” and “false”.
Cesare Rinaldi, Guido Reni e l’ecfrasi del moderno
Giorgio Forni
2021-01-01
Abstract
In order for the description of works of art to find a place in modern lyric poetry, it was necessary to go beyond the classicist primacy of poetry over painting and recognise an affinity and mutual exchange between sister arts. With his Rime nuove of 1603, the poet Cesare Rinaldi, a friend of the Carraccis and Guido Reni, inaugurated a new possibility of dialogue between painting and poetry on a lyric and subjective basis, placing at the centre of that book of rhymes the luminous myth of Barbara as an image of sentiment polemi¬cally beyond “true” and “false”.File in questo prodotto:
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