An Illustrated History of Interior Decoration from Pompeii to Art Nouveau
- 396 páginas
- 14 horas de lectura
Paintings, watercolors, and sketches show the interiors of Greek and Roman, medieval, Renaissance, and Victorian homes in England and Europe
Mario Praz fue un destacado crítico cuyo trabajo profundizó en las fascinaciones estéticas y mórbidas de la literatura europea, especialmente durante la era romántica. Su estudio fundamental examinó meticulosamente los intrincados temas del erotismo y la muerte que impregnaron las obras de autores de finales de los siglos XVIII y XIX. El enfoque de Praz se caracterizó por un profundo compromiso con los estilos artísticos y las corrientes psicológicas de sus temas, ofreciendo a los lectores una exploración cautivadora de las vertientes más oscuras del arte y la literatura. Su legado abarca no solo el análisis literario, sino también la perspectiva sobre la historia del arte y la decoración de interiores.






Paintings, watercolors, and sketches show the interiors of Greek and Roman, medieval, Renaissance, and Victorian homes in England and Europe
Essays on Crashaw, Machiavelli, and Other Studies in the Relations Between Italian and English Literature from Chaucer to T. S. Eliot
From the time of Chaucer to the present we follow the sense of Italy and Italian thought and imagination which has directed and enlivened the works of major English writers—Chaucer, Spenser, Shakespeare, Jonson, the Elizabethan dramatists, Donne, Crashaw, and the Brownings among them.
English (translation)Original Italian
The classic study of the timeless relationship between literature and the visual arts In his search for a common link between literature and the visual arts, Mario Praz draws on the abundant evidence of mutual understanding and correspondence they have long shared. Praz explains that within literature, each epoch has “its peculiar handwriting or handwritings, which, if one could interpret them, would reveal a character, even a physical appearance,” and while these characteristics belong to the general style of a given period, the personality of the writer does not fail to pierce through. Praz contends that something similar occurs in art. He shows how the likeness between the arts within various periods of history can ultimately be traced to structural similarities that arise out of the characteristic way in which the people of a certain epoch see and memorize facts aesthetically. Mnemosyne, at once the goddess of memory and the mother of the muses, presides over this view of the arts. In illustrating her influence, Praz ranges widely through Western sources, providing an incomparable tour of the literary and pictorial arts.