Pietro Aretino

The School of Whoredom

The Lives of Nuns, the Lives of Married Women, the Lives of Courtesans

The Ragionamenti

The Secret Life of Wives

Aretino's Dialogues

Secret Life of Nuns (Hesperus Classics)

Selected Letters [of] Aretino

Pietro Aretino (1492-1556) was an influential Italian author, playwright, poet and satirist. He is credited with inventing modern literate pornography.

Letters and Sonnets

The Works of Aretino

Cortigiana

Le opere proposte in questo volume ricostruiscono a vari livelli il percorso culturale dell’Aretino fino al 1534: la prima redazione della Cortigiana (1525), commedia che mette in scena una divertita rappresentazione icastica della Roma vivace e colorita dei papi medicei; l’Opera nova (1512), raccolta “scolastica” di versi in linea col fortunato filone della lirica tardo-quattrocentesca, qui riproposta in edizione integrale, e il Pronostico del 1534, che tramanda sferzanti giudizi satirici contro il papa e l’imperatore, coinvolgendo i principi e i regnanti di mezza Europa. L’Appendice contiene due scritti burleschi, il Testamento dell’Elefante (1516) e la Farza (1519-1521), tradizionalmente attribuiti all’Aretino: operette godibili e ingiustamente dimenticate la cui pubblicazione conserva il sapore di una riscoperta letteraria e storica.

La Cortigiana e altre opere

Cortigiana ; Opera nova ; Pronostico ; Il testamento dell'elefante ; Farza

Luba Freedman

After classical antiquity, the Italian Renaissance raised the portrait, whether literary or pictorial, to the status of an important art form. Among sixteenth-century Renaissance painters, Titian made his reputation, and much of his living, by portraiture. Titian's portraits were promoted by his friend, Pietro Aretino, an eminent poet and critic, who addressed his letters and sonnets to the same personages whom Titian portrayed. In many of these letters (which often included sonnets), Aretino described both an individual patron and Titian's portrait of that patron, thus stimulating the reciprocal relation between a verbal and pictorial portrait. By investigating this unprecedented historical phenomenon, Luba Freedman elucidates the meaning conveyed by the portrait as an artistic form in Renaissance Italy. Fusing iconographical analysis of the most famous Titian portraits with rhetorical analysis of Aretino's literary legacy as compared to contemporary reactions, Freedman demonstrates that it is due to Titian's many portraits and to Aretino's repeated simultaneous writings about them that the portrait ceased being primarily a social-historical document, preserving the sitter's likeness for posterity. It gradually became, as it is today, a work of art, the artist's invention, which gives its viewer an aesthetic pleasure.

Titian's Portraits Through Aretino's Lens

Le Miroir des Courtisans ... fait en dialogue ... traduit d'Italien en François. [Translated from the 3rd “Giornata” of the first part of the “Ragionamenti” of Pietro Aretino.]

Or Dialogues of the Divine Pietro Aretino Literally Translated Into English

Carleton University. Centre for Renaissance Studies and Research

The Marescalco

Alcide Bonneau

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ The Ragionamenti, Or Dialogues Of The Divine Pietro Aretino: Literally Translated Into English. With A Reproduction Of The Author's Portrait Engraved By Mark Antony Raimondi From The Picture Of Titian, Volume 2; The Ragionamenti, Or Dialogues Of The Divine Pietro Aretino: Literally Translated Into English. With A Reproduction Of The Author's Portrait Engraved By Mark Antony Raimondi From The Picture Of Titian; Pietro Aretino Pietro Aretino, Alcide Bonneau I. Liseux, 1889

Literally Translated Into English. with a Reproduction of the Author's Portrait Engraved

The Ragionamenti, Or Dialogues of the Divine Pietro Aretino

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

The Ragionamenti, Or Dialogues of the Divine Pietro Aretino: Literally Translated Into English. with a Reproduction of the Author's Portrait Engraved

Literally Translated Into English. with a Reproduction of the Author's Portrait Engraved by Mark Antony Raimondi from the Picture of Titian; Volume 2

Literally Translated Into English. With A Reproduction Of The Author's Portrait Engraved By Mark Antony Raimondi From The Picture Of Titian; Volume 6

The Ragionamenti, Or Dialogues Of The Divine Pietro Aretino

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Literally Translated Into English. with a Reproduction of the Author's Portrait Engraved by Mark Antony Raimondi from the Picture of Titian, Volume 5

Literally Translated Into English. With a Reproduction of the Author's Portrait Engraved by Mark Antony Raimondi from the Picture of Titian

Pietro Aretino

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