Overview

In A Brief History of the Artist from God to Picasso, Paul Barolsky explores the ways in which fiction shapes history and history informs fiction. It is a playful book about artistic obsession, about art history as both tragedy and farce, and about the heroic and the mock-heroic. The book demonstrates that the modern idea of the artist has deep roots in the image of the epic poet, from Homer to Ovid to Dante. Barolsky’s major claim is that the history of the artist is inseparable from historical fiction about the artist and that fiction is essential to the reality of the artist’s imagination.

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9780271036762

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Reviews

As Barolsky acknowledges, the book represents a synthesis of a lifetime of thinking about the idea of the artist. --Catherine M. Soussloff, CAA Reviews

Barolsky reveals the ubiquity of fictive and imaginative writing present in the history of art. His elegant narratives serve to remind us of the admonishment we only think we heed: Don't believe everything you read! --Rosi Prieto, CAA Reviews This is a rich intellectual journey, made all the richer by the extent and range of writers Barolsky is able to include in his account. --David Cast, Bryn Mawr Classical Review (BMCR) Paul Barolsky's new book is marvelous, a treasure. It is an imaginative history--of fact, fiction, and fable--brilliantly related by a historian of the imagination. --William E. Wallace, Washington University in St. Louis As Barolsky acknowledges, the book represents a synthesis of a lifetime of thinking about the idea of the artist. --Catherine M. Soussloff, CAA Reviews Barolsky's composition is a fluent example that the art of less is more. --Ernest B. Gilman, Modern Language Quarterly Paul Barolsky, our best art writer, is a miraculously economical stylist with a happily reliable sense of humor. God was sometimes a failed artist, he argues, much like Picasso. Moving very quickly, with reference to Homer, Ovid, Dante, Vasari, Balzac, and some detective novels, his book tells the history of European visual culture. Vladimir Nabokov could hardly have done better. --David Carrier, Champney Family Professor, Case Western Reserve University/Cleveland Institute of Art In this brilliant, wide-ranging essay, Barolsky examines the historical idea of the artist, arguing convincingly, for example, that we should view Homer as an early art historian and that Dante played a crucial role in shaping the modern view of the artist. --David Wilkins, University of Pittsburgh

Paul Barolsky's new book is marvelous, a treasure. It is an imaginative history--of fact, fiction, and fable--brilliantly related by a historian of the imagination. --William E. Wallace, Washington University in St. Louis This is a rich intellectual journey, made all the richer by the extent and range of writers Barolsky is able to include in his account. --David Cast, Bryn Mawr Classical Review (BMCR) Barolsky's composition is a fluent example that the art of less is more. --Ernest B. Gilman, Modern Language Quarterly In this brilliant, wide-ranging essay, Barolsky examines the historical idea of the artist, arguing convincingly, for example, that we should view Homer as an early art historian and that Dante played a crucial role in shaping the modern view of the artist. --David Wilkins, University of Pittsburgh Barolsky reveals the ubiquity of fictive and imaginative writing present in the history of art. His elegant narratives serve to remind us of the admonishment we only think we heed: Don't believe everything you read! --Rosi Prieto, CAA Reviews Paul Barolsky, our best art writer, is a miraculously economical stylist with a happily reliable sense of humor. God was sometimes a failed artist, he argues, much like Picasso. Moving very quickly, with reference to Homer, Ovid, Dante, Vasari, Balzac, and some detective novels, his book tells the history of European visual culture. Vladimir Nabokov could hardly have done better. --David Carrier, Champney Family Professor, Case Western Reserve University/Cleveland Institute of Art As Barolsky acknowledges, the book represents a synthesis of a lifetime of thinking about the idea of the artist. --Catherine M. Soussloff, CAA Reviews Paul Barolsky s new book is marvelous, a treasure. It is an imaginative history of fact, fiction, and fable brilliantly related by a historian of the imagination. William E. Wallace, Washington University in St. Louis This is a rich intellectual journey, made all the richer by the extent and range of writers Barolsky is able to include in his account. David Cast, Bryn Mawr Classical Review (BMCR) Barolsky s composition is a fluent example that the art of less is more. Ernest B. Gilman, Modern Language Quarterly In this brilliant, wide-ranging essay, Barolsky examines the historical idea of the artist, arguing convincingly, for example, that we should view Homer as an early art historian and that Dante played a crucial role in shaping the modern view of the artist. David Wilkins, University of Pittsburgh Barolsky reveals the ubiquity of fictive and imaginative writing present in the history of art. His elegant narratives serve to remind us of the admonishment we only think we heed: Don't believe everything you read! Rosi Prieto, CAA Reviews Paul Barolsky, our best art writer, is a miraculously economical stylist with a happily reliable sense of humor. God was sometimes a failed artist, he argues, much like Picasso. Moving very quickly, with reference to Homer, Ovid, Dante, Vasari, Balzac, and some detective novels, his book tells the history of European visual culture. Vladimir Nabokov could hardly have done better. David Carrier, Champney Family Professor, Case Western Reserve University/Cleveland Institute of Art As Barolsky acknowledges, the book represents a synthesis of a lifetime of thinking about the idea of the artist. Catherine M. Soussloff, CAA Reviews As Barolsky acknowledges, the book represents a synthesis of a lifetime of thinking about the idea of the artist. --Catherine M. Soussloff, CAA Reviews Barolsky reveals the ubiquity of fictive and imaginative writing present in the history of art. His elegant narratives serve to remind us of the admonishment we only think we heed: Don't believe everything you read! --Rosi Prieto, CAA Reviews Barolsky's composition is a fluent example that the art of less is more. --Ernest B. Gilman, Modern Language Quarterly This is a rich intellectual journey, made all the richer by the extent and range of writers Barolsky is able to include in his account. --David Cast, Bryn Mawr Classical Review (BMCR) Paul Barolsky's new book is marvelous, a treasure. It is an imaginative history--of fact, fiction, and fable--brilliantly related by a historian of the imagination. --William E. Wallace, Washington University in St. Louis Paul Barolsky, our best art writer, is a miraculously economical stylist with a happily reliable sense of humor. God was sometimes a failed artist, he argues, much like Picasso. Moving very quickly, with reference to Homer, Ovid, Dante, Vasari, Balzac, and some detective novels, his book tells the history of European visual culture. Vladimir Nabokov could hardly have done better. --David Carrier, Champney Family Professor, Case Western Reserve University/Cleveland Institute of Art In this brilliant, wide-ranging essay, Barolsky examines the historical idea of the artist, arguing convincingly, for example, that we should view Homer as an early art historian and that Dante played a crucial role in shaping the modern view of the artist. --David Wilkins, University of Pittsburgh As Barolsky acknowledges, the book represents a synthesis of a lifetime of thinking about the idea of the artist. Catherine M. Soussloff, CAA Reviews Barolsky reveals the ubiquity of fictive and imaginative writing present in the history of art. His elegant narratives serve to remind us of the admonishment we only think we heed: Don't believe everything you read! Rosi Prieto, CAA Reviews Barolsky s composition is a fluent example that the art of less is more. Ernest B. Gilman, Modern Language Quarterly This is a rich intellectual journey, made all the richer by the extent and range of writers Barolsky is able to include in his account. David Cast, Bryn Mawr Classical Review (BMCR) Paul Barolsky s new book is marvelous, a treasure. It is an imaginative history of fact, fiction, and fable brilliantly related by a historian of the imagination. William E. Wallace, Washington University in St. Louis Paul Barolsky, our best art writer, is a miraculously economical stylist with a happily reliable sense of humor. God was sometimes a failed artist, he argues, much like Picasso. Moving very quickly, with reference to Homer, Ovid, Dante, Vasari, Balzac, and some detective novels, his book tells the history of European visual culture. Vladimir Nabokov could hardly have done better. David Carrier, Champney Family Professor, Case Western Reserve University/Cleveland Institute of Art In this brilliant, wide-ranging essay, Barolsky examines the historical idea of the artist, arguing convincingly, for example, that we should view Homer as an early art historian and that Dante played a crucial role in shaping the modern view of the artist. David Wilkins, University of Pittsburgh As Barolsky acknowledges, the book represents a synthesis of a lifetime of thinking about the idea of the artist. Catherine M. Soussloff, CAA Reviews Barolsky reveals the ubiquity of fictive and imaginative writing present in the history of art. His elegant narratives serve to remind us of the admonishment we only think we heed: Don't believe everything you read! Rosi Prieto, CAA Reviews This is a rich intellectual journey, made all the richer by the extent and range of writers Barolsky is able to include in his account. David Cast, Bryn Mawr Classical Review (BMCR) Paul Barolsky s new book is marvelous, a treasure. It is an imaginative history of fact, fiction, and fable brilliantly related by a historian of the imagination. William E. Wallace, Washington University in St. Louis Paul Barolsky, our best art writer, is a miraculously economical stylist with a happily reliable sense of humor. God was sometimes a failed artist, he argues, much like Picasso. Moving very quickly, with reference to Homer, Ovid, Dante, Vasari, Balzac, and some detective novels, his book tells the history of European visual culture. Vladimir Nabokov could hardly have done better. David Carrier, Champney Family Professor, Case Western Reserve University/Cleveland Institute of Art In this brilliant, wide-ranging essay, Barolsky examines the historical idea of the artist, arguing convincingly, for example, that we should view Homer as an early art historian and that Dante played a crucial role in shaping the modern view of the artist. David Wilkins, University of Pittsburgh As Barolsky acknowledges, the book represents a synthesis of a lifetime of thinking about the idea of the artist. --Catherine M. Soussloff, CAA Reviews Barolsky reveals the ubiquity of fictive and imaginative writing present in the history of art. His elegant narratives serve to remind us of the admonishment we only think we heed: Don't believe everything you read! --Rosi Prieto, CAA Reviews This is a rich intellectual journey, made all the richer by the extent and range of writers Barolsky is able to include in his account. --David Cast, Bryn Mawr Classical Review (BMCR) Paul Barolsky's new book is marvelous, a treasure. It is an imaginative history--of fact, fiction, and fable--brilliantly related by a historian of the imagination. --William E. Wallace, Washington University in St. Louis Paul Barolsky, our best art writer, is a miraculously economical stylist with a happily reliable sense of humor. God was sometimes a failed artist, he argues, much like Picasso. Moving very quickly, with reference to Homer, Ovid, Dante, Vasari, Balzac, and some detective novels, his book tells the history of European visual culture. Vladimir Nabokov could hardly have done better. --David Carrier, Champney Family Professor, Case Western Reserve University/Cleveland Institute of Art In this brilliant, wide-ranging essay, Barolsky examines the historical idea of the artist, arguing convincingly, for example, that we should view Homer as an early art historian and that Dante played a crucial role in shaping the modern view of the artist. --David Wilkins, University of Pittsburgh Barolsky s composition is a fluent example that the art of less is more. Ernest B. Gilman, Modern Language Quarterly Barolsky's composition is a fluent example that the art of less is more. --Ernest B. Gilman, Modern Language Quarterly

<p> Barolsky's composition is a fluent example that the art of less is more. <p>--Ernest B. Gilman, Modern Language Quarterly

Author Information

Paul Barolsky is Commonwealth Professor of the History of Art at the University of Virginia. He is the author of numerous books, including the Penn State Press titles The Faun in the Garden: Michelangelo and the Poetic Origins of Italian Renaissance Art (1994), Giotto's Father and the Family of Vasari’s ""Lives"" (1992), and Why Mona Lisa Smiles and Other Tales by Vasari (1991).

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