A leading intellectual of the time testified that the painter had memorized all of Dante and much of Petrarch. Bronzino spoofed the bards in burlesques celebrating, say, rough trade in the night streets of Florence. Who is the person who does not take pleasure in the things that this thing does, which is born from the bristle or tail hair?
And there is no man or woman so savage that he or she does not seek to have some of its things or to have himself drawn from life. I would not know how to recount one of the thousand different actions and extravagant ways; you know that everyone likes variety. It is enough that in order to make it from behind, in front, across, foreshortened, or in perspective one uses the [ pennello ] for them all. I have two thoughts about this. The trick is to force despairing cynicism to a pitch of wholesome revelry. The pictures in the show, most of them black-chalk studies of heads and bodies, are working drawings, some of which have been squared up for transfer to paintings or tapestries.
A telltale feature is the thin, continuous line that contours his figures, divorcing them from the negative space of the paper: they were limned to be integrated elsewhere.
Within the lines, fabulously deft anatomical details, in hatched and smeared shadings, evoke voluptuously animate flesh. Bronzino makes this look so easy, you should remind yourself to appreciate it. The most gorgeous of the drawings are male nudes, including a tall, narrow study, for the Eleonora chapel, of a young man seen from behind, twisting in a serpentine posture while holding a pillow, or a bizarre hat, on his head with one hand.
The artificiality of the pose coexists perfectly with lip-smacking, carnal joy. It bespeaks the urbanity of someone well able to conduct himself impeccably in any company while pursuing personal pleasures without a lot of compunction.
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Later, Bronzino, suffering through centuries of contempt for Mannerism in general, as an addled interregnum between the Renaissance and the Baroque, was often singled out for abuse on moral grounds. The old verdicts suggest a proactive condemnation—of our own era—which, for all we know, future generations may come to endorse.
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Precious Metal. Market Watch. Pinterest Reddit. Ever since its debut in the late s, Prozac has become something of a talisman for the angst-ridden. The drugs, however, are far from ideal. None of them helps more than two out of three patients. The medications, which work by boosting the effects of the chemical messenger serotonin in the brain, take weeks to relieve depression.
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But the incidence of bedroom blues brought on by the pills has been difficult to estimate because of the potentially confounding effects of depression. Nevertheless, most patients have been willing to put Eros on hold in order to banish the dark from their emotional life.
With recent research however, they may have to reconsider their choice. At the annual meeting of the American Psychiatric Association in New York, Rutgers anthropologist Helen E Fisher presented findings that suggest that common anti-depressants that tinker with serotonin levels in the brain can also disrupt neural circuits involved in romance and attachment.
Cupid, put down your bow: The case against modern romance | Calgary Herald
Experts say lust, attraction and attachment are controlled by three inter-related sub-systems in the brain. Androgens and estrogens drive animal passion. That also explains anti- androgen action in the chemical castration of sexual offenders. Commonly used to treat prostate cancer in men and endometriosis in women, these drugs work on the questionable premise that reduced sex drive results in a greater ability to control deviant sexual urges. The second system uses cuddle chemicals such as oxytocsin and vasopressin to foster bonding and attachment.
Cupid, put down your bow: The case against modern romance
Pleasure chemicals like dopamine and norepinephrine, as well as diminished levels of serotonin, by contrast, drive attraction. By that token, anti-depressants that boost serotonin levels, act as chemical spanners in the sexual drive, setting off a chain of imbalances in all the three amatory systems.
The change is often said to be subtle, according to Ms Fisher and her colleague, Anderson J Thomson Jr, who have studied the brains of people in love and pored over research from the past 25 years on the neurological basis of romance. They cite studies of people who gradually find their emotions blunted and their ability to see attractive features in others lost.
They also point to more extreme examples of people who say losing their sex drives caused romantic feelings towards long-time spouses to evaporate suddenly. Ms Fisher clarifies, however, that not everyone reacts in a similar manner.