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"This book deals with "translation" from the verbal to the visual, has itself been the subject of many translations and revisions. Written in French, then translated and reworked by me for the Italian translation, it was translated into English by Theresa Davis, then revised by me with the collaboration of Kendra Walker, and finally revised and partly retranslated by Alexandra Hoare" ... I could not update the bibliography because the publications on Tasso's poems are so numerous that the book would have had to be completely rewritten. Instead i have reworded and corrected many passages in the hope of gaining clarity"--Acknowledgements page Armida reaches out to Rinaldo armed with a long knife. She hates him, she wants to kill him. Cupid restrains her arm, but the left hand of the sorceress already lies on that of the sleeping hero, a touch that leads her to fall in love. The blue and the red divide the scene. Two contrary passions, narrated by Torquato Tasso, depicted by Nicolas Poussin, are depicted across the canvas. The liberated Jerusalem is the privileged locus of the affetti, to which painting, music, dance and theater have been drawn throughout Europe starting from the sixteenth century. Going further than the narrated action, the painters have diverted the attention to the complex dynamics of passion that Tasso's masterpiece conveys in literary images, and have captured the devices for configuring this new profane affection as opposed to the affectum devotionis of the sacred texts. This volume investigates the exchange between the poetic word and the most stimulating works that have interacted with it. Condensed within visual formulas, a variety of themes emerge such as the blurring of the lines between male and female identity, between love and war; the confrontations and exchanges between different cultures, through violence, religious conversion and the assimilation of one another; the modern hero divided between the worldly, affective arena of the court and the locus amoenus protected from passions. Ultimately, the study examines the astounding political implications of art in relation to court rituals and to all those practices through which power is built and strengthened. Examining the images that permeate poetry and the poetic devices that have found their way into painting, Giovanni Careri traces a trajectory to the fundamental moment of reconfiguration of the visual history of passions. Through the paintings of great artists such as Poussin, Tintoretto, Guercino, Tiepolo and dei Carracci, the author explores the affective revolution at the base of the contemporary world

Iconography --- Thematology --- Tasso, Torquato --- anno 1500-1799 --- Peinture --- Amour --- Guerre --- Art et littérature --- Épopées italiennes --- Epic poetry, Italian --- Love in art. --- War in art. --- Painting, European --- Art and literature. --- Italian poetry --- Thèmes, motifs. --- Dans l'art. --- Dans l'art --- History and criticism. --- Themes, motives. --- Tasso, Torquato, --- Influence. --- Criticism and interpretation. --- kunst en literatuur

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Caravaggio

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Les traités de manières et les traités artistiques, de même que le discours amoureux dans le domaine littéraire, se sont donnés la tâche de définir, voire de codifier, la gestuelle amoureuse et établissent notamment des relations entre le domaine artistique, littéraire et la vie sociale. Par rapport au « geste écrit », le « geste en image » se manifeste sous une forme plus ambiguë et laisse transparaître, souvent, des rapports de réciprocité, de domination, d’assujettissement ou d’inversion des rôles d’autant plus lorsqu’il traduit le sentiment amoureux. Cet ouvrage rassemble des communications, interventions et réflexions menées à l’occasion d’un colloque consacré à L’invention du Geste Amoureux à la Renaissance ainsi que d’une série de workshops portant sur le même thème pour différentes périodes chronologiques. Quels que soient la période traitée et le support de la représentation, la gestuelle est entendue, au sens large, à la fois en tant que gestes et attitudes corporelles. Il ne s’agit pas simplement d’un geste intentionné mais également d’une posture du corps, celle-ci intervenant soit de façon suffisamment régulière pour être identifiée à un «　topos　», soit au contraire de manière si exceptionnelle qu’elle mérite qu’on s’y attarde. Les analyses exemplaires réunies dans ce livre abordent, enfin, les questions de la migration de gestes entre le champ du rituel et celui de l’art, entre le registre du sacré et celui du profane ainsi que les transferts trans-chronologique ou trans-géographique. Elles proposent une étude des postures, attitudes, gestes et expressions qui «　disent　» l’amour dans les arts visuels.

Iconography --- gesture --- seductions --- love [emotion] --- iconography --- figuurhouding