French Literature Reviews - 2026

Ulrich Pfisterer, Eros et les Muses. Mythes de la production artistique à la Renaissance
Art and Visual Culture

Love is an elemental force that no one can escape. This power of Eros is particularly relevant to the arts and artists. Indeed, during the Renaissance and the Baroque era, the term "love" encompasses far more than just a passion for art and art collecting. Love and sexuality provide the theories and metaphors needed to grasp the mysterious process of artistic inspiration and production. This book presents seven case studies focusing on key themes and figures—ranging from Raphael and his depiction of an erotic muse, to the erotic collection of Emperor Rudolf II in Prague, alongside Van Dyck's reflections on aging artists like Titian and Sofonisba Anguissola. Even the early history of pornography in the sixteenth century takes on a new significance within this context.

The relationship between artistic creation and the passions has long been a central area of inquiry within early modern art history and cultural studies. During the Renaissance and Baroque periods, discourses surrounding inspiration frequently drew upon a rich vocabulary of desire, embodiment, and mythological allusion. Within this broader tradition, visual and textual sources often intertwined, positioning the creative act as a parallel to, or a consequence of, intense emotional and physical experiences. Scholars in these fields frequently examine how theoretical frameworks from classical antiquity were reinterpreted by early modern masters to articulate the internal mysteries of their craft.

This book presents seven case studies focusing on key themes and figures—ranging from Raphael and his depiction of an erotic muse, to the erotic collection of Emperor Rudolf II in Prague, alongside Van Dyck's reflections on aging artists like Titian and Sofonisba Anguissola. Even the early history of pornography in the sixteenth century takes on a new significance within this context. Readers interested in the intersection of art history, cultural mythology, and early modern aesthetics may find this volume relevant to their inquiries into Renaissance theories of artistic production and inspiration.