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"This extremely inventive painter knew not only how to find the relevant semitones, both small and large, in his colors, but also how to divide a tone into two equal parts; very gently and softly he would gradually turn white into black, increasing the amount of blackness, in the same way that one would start with a deep, heavy note and then ascend to the high and finally the very high ones." - Gregorio Comanni
Arcimboldo is best known for his compositions of STILL LIFE objects-meats, books, fruits and vegetables-with which he constructed portraits. The most renowned of those works is the portrait he painted of and for his PATRON, Emperor Rudolph II. This is an extraordinary example in which the emperor's nose is a pear, eyelids pea pods, and mustache hazelnut husks; it was praised in a long poem by Arcimboldo's contemporary Comanni, who is quoted above. Rudolph was well pleased, not only by the beauty and ingenuity of the picture, but also by the analogy: The portrait- Vertumnus (c. 1591)-is named after the ancient Roman god of vegetation, protector of gardens, orchards, and the ripening of fruit. Arcimboldo's visual puns included other fantasies: He imagined a Trojan horse formed of writhing soldiers, their flaming torches becoming the horse's mane. The pun first deceives with the image of a horse, and then with the concept of the Trojan horse itself, one of history's great myths of deception (containing inside its wooden structure a conquering army). Himself Milanese, Arcimboldo's inventions were admired by the HAPSBURGs, who made him court painter at Prague from 1562 to 1587. The eccentric Queen CHRISTINA of Sweden also bought his work. Though he left behind no documentation, his friend Comanni described Arcimboldo's Pythagorean experiments with COLOR, praising his CLASSICAL and scientific knowledge. However, Arcimboldo was generally dismissed until the Surrealists found his work appealing (see SURREALISM). Recent assessments of Arcimboldo's accomplishments explore his experimentation with a form of color counterpoint based on Pythagorean intervals of the musical scale (see PYTHAGORASa)n d the notion that his paintings, long misunderstood as fantastic jokes, are actually imperial allegories.
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