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97:. The ideal courtier was supposed to be skilled in arms and in athletic events but be equally skilled in music and dancing. However, the courtier who had sprezzatura managed to make these difficult tasks look easy – and, more to the point, not appear calculating, a not-to-be-discounted asset in a milieu commonly informed by ambition, intrigue, etc. Concerning
34:
word that refers to a kind of effortless grace, the art of making something difficult look easy, or maintaining a nonchalant demeanor while performing complex tasks. The term is used in the context of men’s fashion, where classical outfits are purposefully worn in a way that seem a bit off, as if the
283:
Joseph's posture demonstrates an understated grace, since his slight turn toward the viewer tends to conceal the easy flow of line which characterizes the figure overall while he introduces any number of linear rhythms in the garment subordinate to the main movement of the figure. These variations,
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Additionally, "the poses and garments of the two also reveal a subtle transformation which reflects the same deliberate alteration of attitude." For instance, the gracefulness of
Perugino's Joseph is "emphasized by the highlighting of drapery and body. The easy S-like movement from ear to right toe
105:
I have found quite a universal rule which in this matter seems to me valid above all other, and in all human affairs whether in word or deed: and that is to avoid affectation in every way possible as though it were some rough and dangerous reef; and (to pronounce a new word perhaps) to practice in
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made him seem to be fully at ease in court and like someone who was "the total master of self, society's rules, and even physical laws, and the distinct impression that he unable to err". Of its virtues, Castiglione wrote "The great virtue of sprezzatura is that it implies a greatness unseen, a
259:
through his representation of Joseph. Compared to
Raphael's more youthful representation of Joseph, Perugino's version of Joseph is considerably more idealized and older. Perugino's Joseph, despite his almost cloying sweetness in contrast to earlier depictions by other artists, retains a certain
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art and sculpture, particularly the bella maniera school, in which the artist synthesized the best attributes from various sources into a new design. Sprezzatura emphasized virtuosic effects that were displayed with apparent ease and facility. Cellini's
Perseus would be an excellent example.
634:
Both 'Sprezzatura' and 'Itutu' express a particular kind of freedom: freedom as naturalness (I am what I am, I don't need to make the effort to be something else), and freedom from preoccupations (I am indifferent and unaffected toward external judgment; I am carefree or, better, I don't
284:
in addition to the deliberate avoidance of any dramatic highlights, help to explain why it is that we feel the "nonchalance" of
Raphael's Joseph in contrast to the almost hieratic frozen grace of Perugino's. In the former we can detect that quality which
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was, in a way, "the art of acting deviously", an "art" that created a "self-fulfilling culture of suspicion" because courtiers had to be diligent in maintaining their façades. "The by-product of the courtier's performance is that the achievement of
48:, where it is defined by the author as "a certain nonchalance, so as to conceal all art and make whatever one does or says appear to be without effort and almost without any thought about it". It is the ability of the
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is inescapably obvious." On the other hand, the grace displayed by
Raphael's Joseph "is equally great but perhaps more affecting since the manner of its expression is less obvious."
133:
was a vital quality for a courtier to have. According to
Professor Wayne Rebhorn, courtiers essentially had to put on a performance for their peers and those who employed
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69:
defines it as "studied carelessness", especially as a characteristic quality or style of art or literature, although it is also used in the aesthetic context.
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hardness of profile and angularity which
Raphael has avoided by softening the anatomy of facial features and breaking the rigid profile ever so slightly.
248:'s rendering of the same subject, Raphael's painting can be found to differ primarily from its model by its unique awareness of the importance of
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60:: the ability to disguise what one really desires, feels, thinks, and means or intends behind a mask of apparent reticence and nonchalance".
674:"The French Factor in Castiglione's "The Book of the Courtier (Il libro del cortegiano)": From the Manuscript Drafts to the Printed Edition"
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Howard
Wescott and other scholars have also noted the negative aspects of making difficult tasks seem effortless, namely, that in practice,
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427:
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Wescott, Howard (2000). "The
Courtier and the Hero: Sprezzatura from Castiglione to Cervantes". In Francisco La Rubia Prado (ed.).
110:, so as to conceal all art and make whatever is done or said appear to be without effort and almost without any thought about it.
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118:, and considered it an essential attribute in becoming the ideal courtier. In his view, this quality was inherent to the
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to display "an easy facility in accomplishing difficult actions which hides the conscious effort that went into them".
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as a portrayal of an idealized courtier—one who could successfully keep the support of his ruler. Set in his native
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created the impression that they completely mastered the roles they played. In
Rebhorn's opinion, a courtier's
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Eugenia, Paulicelli, (2016). Writing Fashion in Early Modern Italy : From Sprezzatura to Satire.
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had in mind when he wrote: "Therefore we may call that art true art which does not seem to be art."
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Berger, Harry Jr. (2002). "Sprezzatura and the Absence of Grace". In Javitch, Daniel (ed.).
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may require him to deny or disparage his nature". Consequently, courtiers who excelled at
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potential implicit in its very subtleties and flaws, a strength held in reserve."
709:
Courtly Performances: Masking and Festivity in Castiglione's Book of the Courtier
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354:
292:
690:
673:
570:
Louden, Lynn M. (Autumn 1968). "'Sprezzatura' in Raphael and Castiglione".
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as opposed to the French nobleman, who he considered more 'presumptuous'.
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654:. Translated by Singleton, Charles S. New York: Charles Scribner's Sons.
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Writing fashion in early modern Italy : from sprezzatura to satire
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from the beginning of his career, starting with his first signed work
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involved an ability to trick people convincingly. Wescott states that
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risked losing themselves to the façade they put on for their peers.
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93:, the book runs as several conversations held between courtiers of
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85:(1524–1529), and inspired by the Spanish court, Castiglione wrote
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313:, demure non-serious, polite, shy, playful or for amusement flirt
650:
Castiglione, Baldesar (1901). Eckstein Opdycke, Leonard (ed.).
355:"Sprezzatura Guide for Men - Crafting A Unique Old Money Look"
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Raphael's painting reveals its awareness of the importance of
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and the Constraints of Despotism". In Daniel Javitch (ed.).
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True Style: The History and Principles of Classic Menswear
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True Style: The History and Principles of Classic Menswear
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The Book of the Courtier: The Scribner's Sons Translation
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601:
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Castiglione, Baldesar (2002). Javitch, Daniel (ed.).
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The Book of the Courtier: The Singleton Translation
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The Book of the Courtier: The Singleton Translation
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The Book of the Courtier: The Singleton Translation
622:"Coolness, Aesthetic Agency and Self-Construction"
35:pieces of clothing were put on while in a hurry.
56:has also been described "as a form of defensive
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63:The word has entered the English language; the
189:to certain ideas, incidents, or controversies
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353:Arnault, Laurenti; Amiri, Ru (2024-05-22).
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711:. Detroit: Wayne State University Press.
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528:. Newark: Juan de la Cuesta. p. 227.
38:The term “sprezzatura” first appeared in
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114:Castiglione was generally an admirer of
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763:Definition and Examples of Sprezzatura
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405:. New York: W.W. Norton. p. 297.
741:. New York: Norton. pp. 319–328.
471:, pp. 97–98, 103, 114–115, 120;
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684:(2). University of Toronto: 23–40.
193:create a more balanced presentation
291:Sprezzatura is a major feature of
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426:Safire, William (Oct 27, 2002).
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126:Positive and negative attributes
823:Boyer, G. Bruce (2015-09-08).
526:Cervantes for the 21st Century
331:, a similar Japanese aesthetic
1:
672:Pugliese, Olga Zorza (2003).
325:, a similar Yoruba aesthetic
678:Renaissance and Reformation
244:. "Inspired by his teacher
166:Examples in Renaissance art
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707:Rebhorn, Wayne A. (1978).
620:Arielli, Emanuele (2020).
241:The Marriage of the Virgin
221:The Marriage of the Virgin
83:Ambassador of the Holy See
866:Italian words and phrases
733:Javitch, Daniel (2002). "
234:as an artist exemplified
95:Guidobaldo da Montefeltro
66:Oxford English Dictionary
87:The Book of the Courtier
45:The Book of the Courtier
27:[sprettsaˈtuːra]
691:10.33137/rr.v39i2.8866
667:New York: W.W. Norton.
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269:Marriage of the Virgin
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40:Baldassare Castiglione
748:Boyer, Bruce (2015).
665:Singleton, Charles S.
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106:all things a certain
101:, Castiglione said:
861:Italian Renaissance
311:Coquette flirtation
77:During his stay in
856:Italian literature
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850:Categories
780:. London.
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360:2024-09-24
341:References
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300:See also
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246:Perugino
50:courtier
42:'s 1528
30:) is an
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232:Raphael
226:Raphael
197:resolve
73:History
32:Italian
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323:Itutu
185:lend
79:Spain
58:irony
831:ISBN
810:link
792:OCLC
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