La fica, la coda e il riso. Aux origines de la peinture comique au siècle de Titien
Mickaël Szanto
The rediscovery of a comical painting, recently attributed to the painter Bernardino Licinio, constitutes an important contribution to the understanding of the genesis of pittura ridicola in Renaissance Italy and the decisive role of the Venetian artistic scene. This article aims to highlight the iconographic uniqueness of this canvas, and more specifically the mechanics of laughter, which is determined not only by the density of references – ranging from citations and allusions, from the cat to the fica, but also by the intertwining of multiple games, whether they be wordplay, wit, or ludic and carnival practices.