pays homage to the author himself, analyzing the centrality of Baroque art to Bonnefoy's poetry and aesthetics.'

—Seagull Books

'Yves Bonnefoy's Rome, 1630 is a marvel and a triumph, in this lucid English version by Hoyt Rogers. Together with the five further essays on seventeenth-century art that accompany the main text, this work complements the aesthetic meditation of The Arrière-Pays, which I translated for Seagull some years ago. In that book, Bonnefoy concentrates on the Italian Renaissance, whereas here, he focuses on the Roman Baroque. Along the way, he pays particular attention to two foreigners who were active in the Eternal City: Adam Elsheimer and Nicolas Poussin. In his wide-ranging afterword, Rogers discusses the poet's lifelong fascination with both painters. This is a beautiful volume of fine quality and pleasantly compact despite its length; rarely has an art book been so comfortable to read. I have re-entered with joy that great "hustle and bustle at St Peter's" in 1630.'

— Stephen Romer, Oxford University, Bonnefoy translator

'I love Hoyt Rogers's afterword to Bonnefoy's remarkable study. It is very personal, freewheeling, and learnèd; the translator is released from bondage to the text. As to the original, it is Yves Bonnefoy at his most recondite and complex and requires a devoted servant, if not the slave implied by my word "bondage." I, too, am one of Bonnefoy's several devoted servants around the world, and I salute Rogers's translation of this book. As readers, writers, and translators, we were and remain inspired by Yves Bonnefoy, poet, writer on art and literature, teacher, and friend.'

– Anthony Rudolf, author, publisher, and Bonnefoy translator

'Rome, 1630 is an important meditation on art history and, above all, on the philosophy of art. The long friendship between the author, Yves Bonnefoy, and his translator, Hoyt Rogers, was extremely fruitful for both of them. When they met in Paris, the poet was writing his extensive book on the Italian Baroque, first published in 1970. Fifty years later, this outstanding translation by Rogers, combined with that of five further essays by Bonnefoy on the same subject, affords the English-speaking world insights into the very personal "intensity of gaze" of the French author. In his afterword, "Ut poesis pictura," Rogers takes the reader on a brilliantly written journey through the "cross-fertilization" of art and poetry in Bonnefoy's work.'

— Cornelia Kemp, art historian, Research Institute of the German Museum

'In 1630, Rome witnessed a breakthrough in art, an advance that intertwined with social, economic, philosophical, and scientific developments. This turning point changed Western civilization forever. Yves Bonnefoy accompanies us in exploring this shift, leading us on a poetic journey through the history of art. Not only is the translation by Hoyt Rogers masterly, recapturing the essential poetic vigor of the author, but the illustrations are also exceptional. In his afterword to the book, Rogers gives the reader an interpretative key to Bonnefoy's work that grants us an intimate and familiar vision of the author. With this addition, the volume becomes a conversation like the many Bonnefoy and Rogers exchanged over the course of their friendship. And this time, we are more than happy to participate.'

— Michele Casagrande, arts administrator, Milan

 Published by Seagull Books/U of Chicago Press, Available from the publisher, Amazon, bookshop.org, and other outlets.