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Caravaggio by DavidM. Stone
As this collection of essays makes clear, the paths to grasping the complexity of Caravaggio?s art are multiple and variable. Art historians from the UK and North America offer new or recently updated interpretations of the works of seventeenth-century Italian painter Michelangelo Merisi da Caravaggio and of his many followers known as the Caravaggisti. The volume deals with all the major aspects of Caravaggio?s paintings: technique, creative process, religious context, innovations in pictorial genre and narrative, market strategies, biography, patronage, reception, and new hermeneutical trends. The concluding section tackles the essential question of Caravaggio?s legacy and the production of his followers-not only in terms of style but from some highly innovative strategies: concettismo; art marketing and the price of pictures; self-fashioning and biography; and the concept of emulation.
Caravaggio by Michelangelo Merisi da Caravaggio
This volume considers Caravaggio's revolutionary "realism" from a range of perspectives by a plurality of leading scholars. First, it advances our understanding of Caravaggio's relationship with the "new" science of observation championed by Galileo. Second, it examines afresh the theoretical nature of Caravaggio's seemingly direct "realism." Third, it extends the horizons of research on Caravaggio's complex intellectual and social milieu between high and low cultures. Fourth, it redefines our understanding of the relationship between Caravaggio's life and his art in historical terms.
The Age Of Caravaggio by Metropolitan Museum of Art (New York, N.Y.)
Combines a history of Caravaggio criticism through four centuries, with reproductions of many of the great works by the Italian painter of the late sixteenth century and outstanding examples from the oeuvre of the painters he influenced
Caravaggio by John Varriano
The dramatic realism of Caravaggio's art has fascinated viewers since the seventeenth century. Yet no prior monograph presents the thorough investigation of Caravaggio's "realism" ventured in John Varriano's remarkable book. Forgoing the "life and works" format of most earlier monographs, Varriano concentrates on uncovering the principles and practices -- the intellect and the imagination -- that guided Caravaggio's eye and brush as he made some of the most controversial paintings in the history of art. The book contains numerous color illustrations that will help readers experience Caravaggio's art and follow the author's informative discussion of such famed paintings as "Victorious Love" and "David with the Head of Goliath". -- From publisher's description.
This context enriches our understanding of the paintings - the "Pastor Friso," often dubiously said to represent John the Baptist, the Supper at Emmaus in the London National Gallery, and the newly rediscovered Kiss of Judas in Dublin - then implicates wider contexts, including a comparative study of the artist's most famous works, the Matthew cycle in the Contarelli chapel, and his other patrons, specifically Cardinal Del Monte.
Quoting Caravaggio by Mieke Bal
The author's primary object of investigation in this text is not the Caravaggio, but rather the issue of temporality in art. She analyzes the productives relationship between Caravaggio and a number of late-20th century artists who "quote" the baroque master in their own works.
Caravaggio by Félix Witting
After staying in Milan for his apprenticeship, Michelangelo da Caravaggio arrived in Rome in 1592. There he started to paint with both realism and psychological analysis of the sitters. Caravaggio was as temperamental in his painting as in his wild life. As he also responded to prestigious Church commissions, his dramatic style and his realism were seen as unacceptable. Chiaroscuro had existed well before he came on the scene, but it was Caravaggio who made the technique definitive, darkening the shadows and transfixing the subject in a blinding shaft of light. His influence was immense, firstly through those who were more or less directly his disciples. Famous during his lifetime, Caravaggio had a great influence upon Baroque art. The Genoese and Neapolitan Schools derived lessons from him, and the great movement of Spanish painting in the seventeenth century was connected with these schools. In the following generations the best endowed painters oscillated between the lessons of Caravaggio and the Carracci.
Caravaggio by Richard Vetere
"Cast: 6m., 1w., extras if desired. Caravaggio is set in Rome in 1600 when the city was vibrant with artists, powerful religious leaders, the Inquisition and street violence. A famous painter in his lifetime, Caravaggio kills a man in a brawl and finds a bounty on his head put there not only by the dead man's family but by the Vatican itself. Cardinal Del Monte, his protector, secures a commission for Caravaggio on the isolated island of Malta while he works behind the scenes to convince the pope to pardon the painter. Caravaggio paints the portrait of the Grand Master of the Knights, learning that the powerful man has one thing on his mind and that is to save Caravaggio's wretched soul. Tortured, Caravaggio escapes, racing to Naples where he finds refuge with his arch artistic nemesis, the famous Annibale Carracci. What Caravaggio doesn't know is that his competitor, Carracci, suffers from an inability to create. Visited by his lover, Francesco, and his model and lover, Lena, and with his life hanging in the balance, Caravaggio finds in his exile inspiration that makes him create a dynamic change in art. Through his suffering and his search for God, he creates the style of art we now call Baroque. Unit set. Approximate running time: 2 hours."--Publisher's website.
Caravaggio by Andrew Graham Dixon
Michelangelo Merisi da Caravaggio lived the darkest and most dangerous life of any of the great painters. The worlds of Milan, Rome and Naples through which Caravaggio moved and which Andrew Graham-Dixon describes brilliantly in this book, are those of cardinals and whores, prayer and violence. On the streets surrounding the churches and palaces, brawls and swordfights were regular occurrences. In the course of this desperate life Caravaggio created the most dramatic paintings of his age, using ordinary men and women - often prostitutes and the very poor - to model for his depictions of classic religious scenes. Andrew Graham-Dixon's exceptionally illuminating readings of Caravaggio'spictures, which are the heart of the book, show very clearly how he created their drama, immediacy and humanity, and how completely he departed from the conventions of his time.
Caravaggio by Sybille Ebert-Schifferer
The young Michelangelo Merisi da Caravaggio (1571–1610) created a major stir in late-sixteenth-century Rome with the groundbreaking naturalism and highly charged emotionalism of his paintings. One might think, given the vast number of books that have been written about him, that everything that could possibly be said about the artist has been said. However, the author of this book argues, it is important to take a fresh look at the often repeated and widely accepted narratives about the artist’s life and work. Sybille Ebert-Schifferer subjects the available sources to a critical reevaluation, uncovering evidence that the efforts of Caravaggio’s contemporaries to disparage his character and his artwork often sprang from their own cultural biases or a desire to promote the artistic achievements of his rivals. Contrary to repeated claims in the literature, the painter lacked neither education nor piety, but was an extremely accomplished technician who developed a successful marketing strategy. He enjoyed great respect and earned high fees from his prestigious clients while he also inspired a large circle of imitators. Even his brushes with the law conformed to the behavioral norms of the aristocratic Romans he sought to emulate. The beautiful reproductions of Caravaggio’s paintings in this volume make clear why he captivated the imagination of his contemporaries, a reaction that echoes today in the ongoing popularity of his work and the fierce debate that it continues to provoke among art historians.