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In Giuseppe Arcimboldo's most famous paintings, grapes, fish, and even the beaks of birds form human hair. A pear stands in for a man's chin. Citrus fruits sprout from a tree trunk that doubles as a neck. All sorts of natural phenomena come together on canvas and panel to assemble the strange heads and faces that constitute one of Renaissance art's most striking oeuvres. The first major study in a generation of the artist behind these remarkable paintings, "Arcimboldo" tells the singular story of their creation. Drawing on his thirty-five-year engagement with the artist, Thomas DaCosta Kaufmann begins with an overview of Arcimboldo's life and work, exploring the artist's early years in sixteenth-century Lombardy, his grounding in Leonardesque traditions, and his tenure as a Habsburg court portraitist in Vienna and Prague. "Arcimboldo" then trains its focus on the celebrated composite heads, approaching them as visual jokes with serious underpinnings - images that poetically display pictorial wit while conveying an allegorical message. In addition to probing the humanistic, literary, and philosophical dimensions of these pieces, Kaufmann explains that they embody their creator's continuous engagement with nature painting and natural history. He reveals, in fact, that Arcimboldo painted many more nature studies than scholars have realized - a finding that significantly deepens current interpretations of the composite heads. Demonstrating the previously overlooked importance of these works to natural history and still-life painting, "Arcimboldo" finally restores the artist's fantastic visual jokes to their rightful place in the history of both science and art.

Thomas DaCosta Kaufmann is the Frederick Marquand Professor of Art and Archaeology at Princeton University. His many books include Toward a Geography of Art, also published by the University of Chicago Press.

Table of Illustrations ix
Preface and
Acknowledgments xiii
introduction
1 Arcimboldo’s lombard origins 17
2 Arcimboldo from 1562: The creation of composite Heads 43
3 learning, Poetry, and Art 71
4 Serious Jokes 91
5 Natural Philosophy, Natural History, and Nature Painting 115
6 Nature Studies 149
7 Arcimboldo and the origins of Still life 167
8 Arcimboldo’s Paradoxical Paintings and the origins of Still life 191
conclusion: Arcimboldo in the History of Art 213
Appendix 1. Arcimboldo, the Facchini,and Popular culture 219
Appendix 2. Arcimboldo and meda at monza 223
Appendix 3. concordance of Arcimboldo images from the Aldrovandi letter, bologna, biblioteca Universitaria, dresden Kupferstich-Kabinett cA 213, Vienna (cod. min. 42) and the “museum” of rudolf ii(Österreichische Nationalbibliothek, cod. min. 129 and 130) 226
Notes 233
Bibliography 291
Index 307
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