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

Lettere

Commedie di Pietro Aretino

L' Arétin

Lettres de l'Arétin

ou sont desduites les vies et deportements de Lais et de Lamia traduction du Ragionamento della Nanne de della Antonia ; precede de notes dur l'Aretin

Dialogue “de l'Aretin”

Les ragionamenti

L'Arétin

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

Pietro Aretino

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