Severo Sarduy and the Neo-Baroque Image of Thought in the Visual Arts

Fiction & Literature, Literary Theory & Criticism, Central & South American, Nonfiction, History, Americas, South America, Art & Architecture, Art History
Cover of the book Severo Sarduy and the Neo-Baroque Image of Thought in the Visual Arts by Rolando Pérez, Purdue University Press
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: Rolando Pérez ISBN: 9781612491486
Publisher: Purdue University Press Publication: November 15, 2011
Imprint: Purdue University Press Language: English
Author: Rolando Pérez
ISBN: 9781612491486
Publisher: Purdue University Press
Publication: November 15, 2011
Imprint: Purdue University Press
Language: English

Severo Sarduy never enjoyed the same level of notoriety as did other Latin American writers like García Márquez and Vargas-Llosa, and his compatriot, Cabrera-Infante. On the other hand, he never lacked for excellent critical interpretations of his work from critics like Roberto González Echevarría, René Prieto, Gustavo Guerrero, and other reputable scholars. Missing, however, from what is otherwise an impressive body of critical commentary, is a study of the importance of painting and architecture, firstly, to his theory, and secondly, to his creative work. In order to fill this lacuna in Sarduy studies, Rolando Pérez's book undertakes a critical approach to Sarduy's essays-Barroco, Escrito sobre un cuerpo, "Barroco y neobarroco," and La simulación-from the stand point of art history. Often overlooked in Sarduy studies is the fact that the twenty-three-year-old Sarduy left Cuba for Paris in 1961 to study not literature but art history, earning the equivalent of a Master's Degree from the École du Louvre with a thesis on Roman art. And yet it was the art of the Italian Renaissance (e.g., the paintings as well as the brilliant and numerous treatises on linear perspective produced from the 15th to the 16th century) and what Sarduy called the Italian, Spanish, and colonial Baroque or "neo-baroque" visually based aesthetic that interested him and to which he dedicated so many pages. In short, no book on Sarduy until now has traced the multifaceted art historical background that informed the work of this challenging and exciting writer. And though Severo Sarduy and the Neo-Baroque Image of Thought in the Visual Arts is far from being an introduction, it will be a book that many a critic of Sarduy and the Latin American "baroque" will consult in years to come.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

Severo Sarduy never enjoyed the same level of notoriety as did other Latin American writers like García Márquez and Vargas-Llosa, and his compatriot, Cabrera-Infante. On the other hand, he never lacked for excellent critical interpretations of his work from critics like Roberto González Echevarría, René Prieto, Gustavo Guerrero, and other reputable scholars. Missing, however, from what is otherwise an impressive body of critical commentary, is a study of the importance of painting and architecture, firstly, to his theory, and secondly, to his creative work. In order to fill this lacuna in Sarduy studies, Rolando Pérez's book undertakes a critical approach to Sarduy's essays-Barroco, Escrito sobre un cuerpo, "Barroco y neobarroco," and La simulación-from the stand point of art history. Often overlooked in Sarduy studies is the fact that the twenty-three-year-old Sarduy left Cuba for Paris in 1961 to study not literature but art history, earning the equivalent of a Master's Degree from the École du Louvre with a thesis on Roman art. And yet it was the art of the Italian Renaissance (e.g., the paintings as well as the brilliant and numerous treatises on linear perspective produced from the 15th to the 16th century) and what Sarduy called the Italian, Spanish, and colonial Baroque or "neo-baroque" visually based aesthetic that interested him and to which he dedicated so many pages. In short, no book on Sarduy until now has traced the multifaceted art historical background that informed the work of this challenging and exciting writer. And though Severo Sarduy and the Neo-Baroque Image of Thought in the Visual Arts is far from being an introduction, it will be a book that many a critic of Sarduy and the Latin American "baroque" will consult in years to come.

More books from Purdue University Press

Cover of the book Copyright Questions and Answers for Information Professionals by Rolando Pérez
Cover of the book Ilusionismo verbal en Elogio de la madrastra y Los cuadernos de don Rigoberto de Mario Vargas Llosa by Rolando Pérez
Cover of the book Comparative Hungarian Cultural Studies by Rolando Pérez
Cover of the book Re-Visioning Terrorism by Rolando Pérez
Cover of the book Who Is A Jew? by Rolando Pérez
Cover of the book Crisis y reemergencia by Rolando Pérez
Cover of the book Reframing Italy by Rolando Pérez
Cover of the book A University of Tradition by Rolando Pérez
Cover of the book Pet Politics by Rolando Pérez
Cover of the book A Better Way to Build by Rolando Pérez
Cover of the book Something’s Gotta Give by Rolando Pérez
Cover of the book Tastes of Faith by Rolando Pérez
Cover of the book Sephardi and Mizrahi Jews in America by Rolando Pérez
Cover of the book Toma y Daca by Rolando Pérez
Cover of the book Never Look Back by Rolando Pérez
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy