Publisher's Synopsis
After a long period in which devaluation and simplification went hand in hand, the studies on Marino in the last decades have taken an interdisciplinary approach, attempting to project the filter of an art-historical perspective onto the corpus of Marino's works, investigating the tangencies with the collections or artists that the poet encountered between the end of the sixteenth century and the first quarter of the seventeenth century. After some precious openings by Father Pozzi, the most fertile results are certainly those reached in the pages of Giorgio Fulco, who already gave a glimpse of how the Marinian works represented a decisive junction for the interaction between literary perspective and figurative production in the context of the early 17th century, within a truly European experience, which starts from the 16th-century masters present in the collection of Matteo di Capua and arrives up to the tangencies with Rubens in Paris, and to the acute intuition regarding the young Poussin. It is, on the whole, a dossier of unquestionable fascination, which the essays collected in this volume try to deepen by following the plots of correspondence, travels and contacts, and the often evanescent trajectories of the works of art, trying to put in dialogue philologists, historians of literature, historians of art and historians of collecting according to a variety of approaches and readings.
