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Student Artwork Guide

Summer

Giuseppe Arcimboldo, 1572

Name Class Date
Giuseppe Arcimboldo, Summer (1572), Art Museum. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Giuseppe Arcimboldo topimpressionists.com/en/artists/giuseppe-arcimboldo/
Artist’s dates
1527 – 1593
Painted
1572
Medium
Acrylic On Canvas
Original size
92 x 71 cm
Movement
Arcimboldo Mannerism
Held at
Art Museum topimpressionists.com/en/museums/art-museum-denver/
Artistic style
Composite portrait
Influences
Renaissance
Notable elements
Fruit, vegetable face
Subject or theme
Allegorical figure

Copyright This work is in the public domain. Giuseppe Arcimboldo died in 1593; copyright lasts 70 years after the artist’s death, so it ended in 1663.

Source: TopImpressionists.com — accessed Sept. 25, 2026

Summer — Giuseppe Arcimboldo Part 1 · The artwork

In context

Summer — Giuseppe Arcimboldo

How big is it?

The original measures 92 × 71 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1520
  2. 1530
  3. 1540
  4. 1550
  5. 1560
  6. 1570
  7. 1580
  8. 1590

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 66 at death.

Painted when the artist was 45. The artist lived to 66. 42 of the 119 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Giuseppe Arcimboldo (1527–1593) ▲ this work, 1572 every dated painting, decade by decade

First works: up to 1566 Main working years: 1566–1585 Late works: from 1585

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

  • Vertumnus (Vertumno), 1590 topimpressionists.com/en/art/giuseppe-arcimboldo-vertumnus-vertumno-8BWLKF-en/
  • Summer 1, 1563 topimpressionists.com/en/art/giuseppe-arcimboldo-summer-1-8BWLJX-en/
  • Autumn, 1572 topimpressionists.com/en/art/giuseppe-arcimboldo-autumn-8XY5UD-en/

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: topimpressionists.com/en/art/similar/giuseppe-arcimboldo-summer-8XZ9DL-en/

Colours

Measured from the image

    Main colour

    Phthalo Green #141a2b

    Catalogued palette

    • #141A2B
    • #986747
    • #584039
    • #D39E6F

    These colours inside the artist’s whole palette Find other paintings by colour

    Main colour name
    Phthalo Green
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Bold How much the colours differ in lightness and saturation across the picture.
    Harmony
    Balanced Harmony How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Balanced Soft How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Giuseppe Arcimboldo over the last twelve months — 27 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 35.6%
    2. 2 Italy 13.3%
    3. 3 France 11.3%
    4. 4 United States of America 7.1%
    5. 5 Spain 6.4%
    6. 6 Hong Kong 6.4%
    7. 7 Singapore 5.7%
    8. 8 Germany 2.7%
    9. 9 Sweden 2.2%
    10. 10 Poland 1.7%
    11. · 17 other countries 7.6%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Giuseppe Arcimboldo

    1. 1 Vertumnus (Vertumno), 1590 15.8%
    2. 2 Summer 1, 1563 6.8%
    3. 3 The Librarian, 1566 5.8%
    4. 4 The Fire 4.0%
    5. 5 Autumn, 1573 4.0%
    6. 6 Autumn, 1572 3.6%
    7. 7 Summer, 1563 3.2%
    8. 8 Reversible Head with Basket of Fruit, 1590 2.5%
    9. 9 Fire, 1566 2.5%
    10. 10 Floral Still LIfe, 1591 2.3%
    11. 11 Reversible Head with Basket of Fruit, 1590 2.2%
    12. 12 Spring, 1573 1.6%
    13. 13 Summer, 1573 1.6%
    14. 14 Air, 1566 1.4%
    15. 15 The Vegetable Gardener, 1587 1.4%
    16. 16 Summer (detail), 1563 1.4%
    17. 17 Sketch for a Visored Helmet, 1585 1.4%
    18. 18 Earth, 1566 1.3%
    19. 19 Winter, 1573 1.1%
    20. 38 Summer, 1572 this painting 0.5%

    Together these works take 64.4% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 168 works by this artist, of which 114 were looked at at least once. This painting ranks 38 of them, with 0.5% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Source: TopImpressionists.com — accessed Sept. 25, 2026

    Summer — Giuseppe Arcimboldo Part 2 · In context

    About this artwork

    Summer — Giuseppe Arcimboldo

    The Genesis of a Floral Vision

    Giuseppe Arcimboldo’s “Summer,” painted in 1572, isn't merely a portrait; it’s an audacious declaration of the Renaissance spirit – a vibrant, layered allegory woven from the bounty of nature itself. Born in Milan during a period of intense intellectual and artistic ferment, Arcimboldo was a master of transforming the mundane into the magnificent, a skill honed initially through his work adorning the cathedrals of his native city. “Summer” represents a pivotal shift in his career, moving beyond traditional courtly portraits to embrace a uniquely personal and symbolic style that captivated the eye of Emperor Rudolf II, who commissioned this extraordinary piece. The painting immediately arrests the viewer with its sheer exuberance: a human face constructed entirely from an astonishing array of fruits, vegetables, flowers, and foliage – a testament to Arcimboldo’s meticulous observation and artistic ingenuity.

    A Symphony of Seasonal Elements

    The composition is a carefully orchestrated dance of seasonal elements. The face itself is dominated by the warm hues of summer produce: blushing peaches form the cheeks, plump cherries adorn the lips, and a vibrant orange nose hints at the sun’s warmth. Apple slices create the eyes, conveying an expression of gentle curiosity, while grapes meticulously arranged around the mouth suggest both sweetness and abundance. Beyond the face, a cascade of greenery – leaves, vines, and blossoms – frames the figure, creating a sense of enveloping vitality. The inclusion of elements like wheat stalks and ears of corn subtly allude to harvest and prosperity, anchoring the portrait within the rhythms of the natural world. Notably, Arcimboldo’s choice isn't random; each element carries symbolic weight, reflecting Renaissance ideals of harmony between humanity and nature.

    The Language of Symbolism

    Arcimboldo’s work is steeped in symbolism, drawing heavily from the philosophical currents of the time. The use of fruits and vegetables wasn’t simply decorative; it was a deliberate strategy to communicate complex ideas about power, mortality, and the cyclical nature of life. The abundance depicted in “Summer” could be interpreted as a celebration of Rudolf II's reign – a ruler who embraced both luxury and intellectual pursuits. Furthermore, the careful arrangement of these natural components mirrors the concept of memento mori, reminding viewers of their own mortality while simultaneously celebrating the beauty and transience of life. The inclusion of elements like the bird perched atop the head adds another layer of interpretation, perhaps representing wisdom or divine guidance.

    Technique and Legacy

    “Summer” is executed in oil paint on canvas, demonstrating Arcimboldo’s mastery of detail and his ability to render textures with remarkable precision. The meticulous layering of fruits and vegetables creates a sense of depth and volume, while the vibrant colors contribute to the painting's overall dynamism. The piece stands as a testament to Arcimboldo’s innovative approach to portraiture, challenging conventional notions of representation and pushing the boundaries of artistic expression. It is now housed in the Denver Art Museum, where it continues to fascinate visitors with its ingenious construction and profound symbolism. Reproductions of this iconic work offer a chance to experience the magic of Arcimboldo's vision firsthand, bringing a touch of Renaissance exuberance into any space.

    Source: TopImpressionists.com — accessed Sept. 25, 2026

    Summer — Giuseppe Arcimboldo Part 3 · About this artwork

    Artist and museum

    Artist

    Giuseppe Arcimboldo

    Born in Milan, Italy

    A World Reimagined: The Enigmatic Art of Giuseppe Arcimboldo

    Giuseppe Arcimboldo, a name that conjures images both whimsical and profoundly strange, remains one of the most singular figures in Renaissance art. Born in Milan in 1527, his career unfolded against the backdrop of a Europe steeped in intellectual ferment, religious upheaval, and an insatiable curiosity about the natural world. While initially recognized for more conventional works – frescoes adorning cathedrals and portraits adhering to established courtly standards – Arcimboldo’s enduring legacy rests upon a series of composite heads constructed entirely from meticulously arranged objects: fruits, vegetables, flowers, books, even musical instruments. These weren't mere playful exercises in visual trickery; they were complex allegories, imbued with symbolism that resonated deeply within the Renaissance worldview and continue to fascinate audiences today. His father, Biagio Arcimboldo, was an artist himself, providing young Giuseppe with early artistic training and likely influencing his initial foray into design work for stained glass windows and frescoes at Milan Cathedral beginning around 1549. This foundational experience honed his technical skill and eye for detail—qualities that would become hallmarks of his later, more unconventional creations.

    Courtly Commissions and the Rise of a Unique Style

    Arcimboldo’s trajectory took a significant turn in 1562 when he was appointed court portraitist to Ferdinand I at the Habsburg court in Vienna. This marked the beginning of over two decades serving as an artistic polymath for three successive Habsburg rulers: Maximilian II and his son, Rudolf II. Beyond painting portraits – though even these often displayed subtle eccentricities – Arcimboldo’s duties encompassed costume design, festival decorations, and the organization of imperial collections. It was within this environment of refined taste and intellectual curiosity that his signature style began to blossom. The courtly demand for novelty and spectacle provided fertile ground for experimentation, allowing him to move beyond traditional portraiture towards the creation of his celebrated “composite heads.” These weren’t born from a sudden impulse but evolved gradually, building upon Renaissance fascination with puzzles, riddles, and the exploration of hidden meanings within seemingly ordinary objects. The influence of earlier artists who experimented with trompe l'oeil effects and distorted perspectives can be detected, yet Arcimboldo synthesized these elements into something entirely his own—a unique visual language that challenged conventional notions of representation.

    Decoding the Symbolism: More Than Meets the Eye

    To dismiss Arcimboldo’s work as mere whimsicality is to overlook its profound intellectual depth. Each object within his composite portraits was carefully chosen, laden with symbolic meaning related to the sitter's character, profession, or social status. The Librarian, for example, isn’t simply a face constructed from books; it’s a subtle critique of scholarly pretension—a commentary on those who amass knowledge without truly engaging with its content. The animal tails forming the beard represent dusters, hinting at neglected volumes gathering dust on shelves. Similarly, his portraits of the seasons – particularly *Vertumnus*, depicting Emperor Rudolf II as the Roman god of gardens and change – are rich in botanical symbolism, reflecting the emperor’s patronage of science and natural history. These weren't intended to be immediately deciphered; they were designed to provoke contemplation, inviting viewers to unravel layers of meaning hidden within the seemingly playful arrangement of objects. The very act of constructing a human likeness from inanimate matter served as a meditation on the interconnectedness of all things—a reflection of Renaissance Neoplatonism’s belief in the underlying harmony of the universe.

    Legacy and Rediscovery: A Precursor to Surrealism

    Despite his success during his lifetime, Arcimboldo's reputation waned in the centuries following his death in 1593. His work was often relegated to the realm of curiosities—appreciated for its technical skill but dismissed as lacking serious artistic merit. It wasn’t until the 20th century that a renewed appreciation for his art emerged, fueled by the rise of Surrealism. Artists like Salvador Dalí recognized in Arcimboldo a kindred spirit—a visionary who dared to challenge conventional perceptions and explore the subconscious through unexpected juxtapositions of imagery. The influence of Arcimboldo can be seen in Dalí’s own dreamlike compositions and his fascination with metamorphosis and illusion. Today, Arcimboldo is celebrated as a pivotal figure in art history—a precursor to Surrealism whose innovative use of symbolism and playful distortion continues to inspire artists and captivate audiences worldwide. His paintings are housed in prestigious museums such as the Kunsthistorisches Museum in Vienna and the Louvre in Paris, ensuring that his unique vision will continue to resonate for generations to come. His legacy is a testament to the enduring power of imagination and the ability of art to transform our understanding of the world around us.

    Museum

    Art Museum

    On show in Denver, United States of America

    A Beacon of Artistic Innovation: The Denver Art Museum

    The Denver Art Museum (DAM) stands as a testament to the power of art to transform and inspire, a cultural landmark in the heart of Colorado that has evolved from humble beginnings into a globally recognized institution. Founded in 1893 as the Denver Art Association, housed initially within the Central Library, the museum’s trajectory reflects the city's own dynamic growth and its embrace of diverse artistic expressions. Today, DAM boasts an impressive collection exceeding 70,000 works spanning over 12 distinct collections – a journey through human creativity from ancient civilizations to contemporary masters. The museum isn’t merely a repository of art; it is a vibrant space for dialogue, discovery, and the celebration of cultural heritage.

    Architectural Marvels: A Dialogue Between Form and Function

    Perhaps as iconic as the art within its walls is DAM's striking architecture. The original building, designed by Francis Waller in 1893, laid the foundation for a structure that would continually evolve alongside the museum’s expanding vision. However, it was Gio Ponti’s 1971 North Building that truly cemented DAM’s place as an architectural icon. Its fortress-like exterior of shimmering tiles, inspired by Native American pottery and reflecting the Colorado landscape, gives way to a surprisingly open and airy interior designed to foster a unique visitor experience. More recently, Daniel Libeskind's 2006 Frederic C. Hamilton Building added another layer of complexity and visual intrigue with its angular forms and crystalline facade, symbolizing the museum’s commitment to pushing boundaries and embracing new perspectives. The interplay between these distinct architectural styles creates a captivating dialogue – a physical manifestation of the diverse artistic voices housed within.

    A Worldly Collection: From Indigenous Arts to European Masters

    DAM's collections are remarkably broad in scope, offering something for every art enthusiast. A cornerstone of the museum’s identity is its renowned collection of American Indian Art, considered one of the finest in the world. Here, visitors can explore a rich tapestry of traditions and artistry, from ancient pottery and textiles to contemporary works that reflect the enduring spirit of Indigenous cultures. Alongside this strength, DAM boasts significant holdings in Western American art, providing a compelling narrative of the region’s history and landscape. European paintings and sculpture offer a journey through artistic movements – from Renaissance masterpieces to Impressionist landscapes and modern abstractions. The museum also shines with its collections of Asian Art, Spanish Colonial Art, African Art, and design objects, creating a truly global perspective on artistic expression. Recent additions, like the Kirkland collection, continue to enrich the museum’s holdings and offer fresh opportunities for exploration.

    Exhibitions & Engagement: A Dynamic Cultural Hub

    DAM is not content to simply display its permanent collections; it actively seeks to engage audiences through thought-provoking temporary exhibitions. These exhibits often explore timely themes, showcase emerging artists, or delve deeper into specific areas of the museum’s holdings. The museum also prioritizes accessibility and community engagement, offering a wide range of programs for visitors of all ages – from guided tours and workshops to family activities and lectures. This commitment to education and outreach ensures that DAM remains a vital cultural hub, fostering a love of art within the Denver community and beyond. Whether you're captivated by Hilaire-Germain-Edgar Degas’s delicate pastels like “The Dance Examination” or intrigued by Géza Mirkovszky’s historical watercolors depicting Berlin’s Royal Palace capstone ceremony, DAM consistently offers compelling experiences that spark curiosity and inspire reflection.

    Where to read more

    Find this online

    QR code linking to the download page for Summer

    topimpressionists.com/en/art/download/giuseppe-arcimboldo-summer-8XZ9DL-en/

    Cite this artwork

    MLA
    Arcimboldo, Giuseppe. Summer. 1572, Art Museum. https://topimpressionists.com/en/art/giuseppe-arcimboldo-summer-8XZ9DL-en/
    APA
    Arcimboldo, Giuseppe (1572). Summer [Painting]. Art Museum. https://topimpressionists.com/en/art/giuseppe-arcimboldo-summer-8XZ9DL-en/
    Chicago
    Giuseppe Arcimboldo. Summer. 1572. Art Museum. https://topimpressionists.com/en/art/giuseppe-arcimboldo-summer-8XZ9DL-en/
    Harvard
    Arcimboldo, Giuseppe (1572) Summer. Art Museum. Available at: https://topimpressionists.com/en/art/giuseppe-arcimboldo-summer-8XZ9DL-en/

    Source: TopImpressionists.com — accessed Sept. 25, 2026

    Summer — Giuseppe Arcimboldo Part 4 · Artist and museum

    Look closely

    Summer — Giuseppe Arcimboldo

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: fruits, vegetables, portraits. Do you agree? What would you add, or take away?
    4. Look back at Vertumnus (Vertumno) (1590), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Giuseppe Arcimboldo was about 45 when this was made. What in it looks like the work of an artist at that stage?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Source: TopImpressionists.com — accessed Sept. 25, 2026

    Summer — Giuseppe Arcimboldo Part 5 · Look closely

    Art quiz

    Summer — Giuseppe Arcimboldo

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What is the primary subject matter of Giuseppe Arcimboldo’s painting, ‘Summer’?

      • A A portrait of a noblewoman
      • B A still life arrangement of fruits and vegetables forming a human face
      • C A landscape depicting a summer garden

    2. 2. In ‘Summer’, which fruit prominently features on the cheek of the depicted figure?

      • A Apples
      • B Peaches
      • C Cherries

    3. 3. Giuseppe Arcimboldo was primarily known for his innovative approach to which art form?

      • A Sculpture
      • B Portraiture using assembled objects
      • C Landscape painting

    4. 4. The ‘Summer’ painting is believed to have been created in which year?

      • A 1563
      • B 1572
      • C 1593

    5. 5. What artistic movement is most closely associated with Giuseppe Arcimboldo’s style?

      • A Realism
      • B Mannerism
      • C Baroque

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1A · 2C · 3A · 4B · 5B

    Check any answer against the catalogue record for this painting

    Source: TopImpressionists.com — accessed Sept. 25, 2026

    Summer — Giuseppe Arcimboldo Part 6 · Art quiz

    Questions & Answers

    Are the colors of "Summer" by Giuseppe Arcimboldo saturated or muted?

    The colors of "Summer" by Giuseppe Arcimboldo have a balanced soft saturation. Saturation describes how vivid or muted the colors are.

    What emotion does the Arcimboldo Mannerism work "Summer" convey?

    Within the Arcimboldo Mannerism movement, "Summer" is recorded with a nostalgic tone.

    Why is the copyright status of "Summer" what it is?

    The copyright status of "Summer" - in the public domain - its copyright has expired - follows from the artist's death in 1593.