Der zu seinen Lebzeiten als kontrovers geltende italienische Maler Michelangelo Merisi da Caravaggio (1571-1610) hat seinen heutigen Weltruhm als hervorragender Künstler des Barock einer Wiederentdeckung im frühen 20. Jahrhundert zu verdanken. Seitdem sind die Bilder des streitbaren Verfechters der realistischen Malweise geschätzt wie nie zuvor. Zu recht, denn es struggle Caravaggio, der religiöser Kunst eine neue Menschlichkeit einhauchte, mit seinen realitätsgetreuen und gleichzeitig sinnlichen Bildnissen von Menschen, Heiligen und Göttern. Für Caravaggio galt allein die Schönheit des Naturgetreuen, dass er geschickt mit der von ihm neu „restaurierten“ chiaroscuro-Technik in Szene zu setzen wusste. Dieses Streben brachte ihn auf Kollisionskurs mit den Künstlern und dem Klerus seiner Zeit, die ihm Pietätlosigkeit und einen verruchten Lebensstil vorwarfen.
Dieses Buch vereint die Erkenntnisse zweier Caravaggio-Experten, Félix Witting und M. L. Patrizi, und berichtet vom turbulenten Leben und Schaffen dieses genialen Malers.
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This determine, painted on a around, convex defend, represents the Gorgon killed through Perseus along with her mouth open and her eyes bulging, correct after her beheading, as blood continues to be pouring from her neck. To the Gorgon who may petrify any human who seemed into her eyes, the painter offers a harmonious face with the complexion of a tender girl that contrasts surprisingly together with her vast hair of snakes. Her eyes, choked with terror, plunge us into the silent fact of this mysterious passage from existence to loss of life.
The easiest representation of his skill to take advantage of the rules of viewpoint is the ceiling painted in oil at once onto plaster in Cardinal Del Monte’s villa entitled Jupiter, Neptune, and Pluto, which was once in simple terms came across within the twentieth century. Caravaggio used to be most likely encouraged by means of the paintings of Giulio Romano, who had undertaken one of many recognized adorned ceilings of Palazzo del Tè in Mantua. within the portray Saint Matthew and the Angel, Caravaggio completed advanced foreshortening within the angel’s arm that courses Saint Matthew’s quill, as in that of David lifting the severed head of Goliath (David with the pinnacle of Goliath) and within the sword held within the left hand of the supper visitor in Supper at Emmaus, which turns out to pop up perpendicularly to the airplane of the canvas and to strengthen in the direction of the viewer.
The sensuality of the 2 boys in those works is clear, notwithstanding the announcement by means of sure critics that those work are odes to homosexuality turns out a bit of exaggerated and simplistic. it's precise, in spite of the fact that, that a bit parted lips cost a portray with eroticism, and Caravaggio did sometimes conceal messages inside his works. hence the fruit that the boy is peeling can be a bergamot, a sour orange, the logo of common Love. through the heart a while, it was once commonplace for a husband to place on vermillion gowns, which Goethe declared in his treatise “represent the color of maximum passion in addition to the gentlest mirrored image of the environment sun”27.
Surprisingly reserved, yet hence inflicting all of the extra pleasure, have been the few yet grave phrases of artwork historian J. Burckhardt (1818-1897), which seemed in a commitment to the artist within the first variation of Cicerone, and which was once slightly altered in later variations of this work12. in the meantime, sleek painters reminiscent of Théodule Ribot (1823-1891) had already sided with the grasp of the Baroque with their theories on paintings, intentionally trying to find the way to safeguard the intentions in their French Caravaggio, the grasp Valentin de Boulogne13.
70 Burckhardt, J. op. cit. , (p. 816, 969). fifty one Catalogue n° 32; in line with Eisenmann, (1879) and Burckhardt, op. cit. , (p. 984), the portray belonged to Caravaggio himself; the colors are obscure, undefined, that is why it kind of feels transparent that this replica isn't really by means of Caravaggio’s hand. seventy four Unger, M. op. cit. , (p. 176). fifty two Baglione, G. op. cit. , (ch. 1); Louvre, catalogue n° 1121. fifty three examine with Eisenmann, op. cit. , (p. 12). fifty four Baglione, G, (ch. 1. c). Catalogue of the photographs within the nationwide Gallery (1894), n° 172. fifty five Innsbruck, Ferdinandeum catalogue n° 565.