Related Papers
A. Orlando, Schede in Lights and Shadows. Caravaggism in Europe, catalogo della mostra, Cesare Lampronti Gallery, London, 2015
2015 •
Anna Orlando
Out of Darkness: The Path to Enlightenment in Caravaggio's Taking of Christ and Other Religious Narratives
Kymberly Cardullo
Historically, Caravaggio has been depicted as a rebellious and sometimes violent rabble-rouser. His works are often viewed as a reflection of this persona, bestowed upon him by his biographers, contemporaries as well as by psychoanalysts. However, if these preconceived notions of Caravaggio’s personality are set aside, the human and expressive qualities of his figures may be seen more clearly. It is this human aspect that invites the viewer to identify and sympathize with the figures. The purpose of his realistic illustrations was to make biblical stories more tangible for the viewer, making them feel as if they were present at the event transpiring within the confines of the canvas. It is the expressiveness of these figures that specifically engages the viewer. His intentions were to provide the faithful and other viewers with a deeper understanding of these religious narratives by evoking an emotional response rather than a superficial understanding of the events in a historical context. In no other work has Caravaggio achieved such intense realism and emotion as he has done with the Taking of Christ. The Taking of Christ is ultimately a reflection of his beliefs, supported by the inclusion of a self-portrait and a second light source as an iconographical element indicating his own spiritual enlightenment and understanding of these religious narratives. The Taking of Christ is the only work that includes a second light source, which is further indicative of his spiritual enlightenment.
The Oxford Art Journal, Vol 36, No 2
A Heartfelt gesture: Separation and Feeling, Darkness and Illusion in Caravaggio
2013 •
Brendan Prendeville
Caravaggio to Canaletto. The Glory of Italian Baroque and Rococo Painting. Exhibition catalogue edited by Zsuzsanna Dobos with the collaboration of Dóra Sallay and Ágota Varga. Budapest, Szépművészeti Múzeum, 26 October 2013 – 16 February 2014. Budapest: Szépművészeti Múzeum, 2013.
Dóra Sallay
Reframing severed representations: from biography towards a psychoanalytical reading of Caravaggio’s self-portraiture
2020 •
Alyson McGowan
Representing from Life in 17th-c. Italy
McTighe chap 1 Caravaggio's Physiognomy
2019 •
Sheila McTighe
Caravaggio's practice of painting from the posed model is examined through the lens of GB della Porta's physiognomic and phytognomic theories.
Peter Lang Publishing, Inc. (Renaissance and Baroque Studies and Texts)
The Path of Humility: Caravaggio and Carlo Borromeo
2015 •
Anne H Muraoka
The Path of Humility: Caravaggio and Carlo Borromeo establishes a fundamental relationship between the Franciscan humility of Archbishop of Milan Carlo Borromeo and the Roman sacred works of Caravaggio. This is the first book to consider and focus entirely upon these two seemingly anomalous personalities of the Counter-Reformation. The import of Caravaggio’s Lombard artistic heritage has long been seen as pivotal to the development of his sacred style, but it was not his only source of inspiration. This book seeks to enlarge the discourse surrounding Caravaggio’s style by placing him firmly in the environment of Borromean Milan, a city whose urban fabric was transformed into a metaphorical Via Crucis. This book departs from the prevailing preoccupation— the artist’s experience in Rome as fundamental to his formulation of sacred style—and toward his formative years in Borromeo’s Milan, where humility reigned supreme.
Ecce hom*o and Derision of Silenus
Christine Göttler
Taste and Prudence in the Art of Jusepe de Ribera
2016 •
Hannah Friedman
Art History
Looking in the Mirror of Renaissance Art
2016 •
Genevieve Warwick
This essay has a dual focus concerning the use of the mirror in making and viewing Renaissance art. It considers the mirror both as an instrument of artistic practice and as an emblem of pictorial representation within painting. Inaugurated by Brunelleschi’s great experiment staged at the door of Florence Cathedral on the one hand, and Van Eyck’s Arnolfini Double Portrait on the other, a Renaissance art of mimetic resemblance was predicated on a deeply worked approximation between the mirror reflection and the theory of painting. This close affinity between the mirror and the painting’s surface, as Leonardo’s notes make manifest, underpinned both the theory and practice of Renaissance art as constituted in the studied imitation of visual observation. Thus the mirror reflection became, both within the workshop and within representation, the instrument and the definition of what a painting was.
