BY: IAN SHANK
Nearly half a millennium after their creation, artist Giuseppe Arcimboldo’s vegetal visages live on through a handful of kitschy European food brands. From the southern tip of Sicily, his painting Summer (1563) solicits buyers of oblong and ox heart tomatoes. Further north, Vertumnus (c. 1590) has been adopted by the Bertuzzi juice company. And at an amusement park outside Paris, his work has been taken to epic proportions by a commemorative restaurant flanked by mountains of oversized phosphorescent fruit.
Together, these are but a few modern inheritances of Arcimboldo, a 16th-century Italian artist famous for his kaleidoscopic “composite heads.” For scholars of his oeuvre, the most protracted and contentious debates in the field revolve overwhelmingly around a single, seemingly simple question: Just how seriously should we regard a man whose most enduring legacy is—in the words of one author—“fruit faces”?
SOURCE: https://www.artsy.net/
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