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Now in paperback, an accessible and beautifully illustrated account of Caravaggio as a catalyst for modernity. Undeniably one of the greatest artists of all time, Michelangelo Merisi da Caravaggio would develop a radically new kind of psychologically expressive, realistic art and, in the sixteenth and seventeenth centuries, would lay the foundations for modern painting. His paintings defied tradition to such a degree that the meaning of his works has divided critics and viewers for centuries. In this original study, Troy Thomas examines Caravaggio’s life and art in relationship to the profound beginnings of modernity, exploring the many conventions that Caravaggio utterly dismantled with his extraordinary genius. Thomas begins with an in-depth look at Caravaggio’s early life and works and examines how he refined his realism, developed his obsession with darkness and light, and began to find the subtle and clever ambiguity of genre and meaning that would become his trademark. Focusing acutely on the inherent tensions, contradictions, and ambiguities within Caravaggio’s paintings, Thomas goes on to examine his mature religious works and the ways he created a powerful but stark and enigmatic expressiveness in his protagonists. Lastly, he delves into the artist’s final hectic years as a fugitive killer evading papal police and wandering the cities of southern Italy. Richly illustrated in color throughout, Caravaggio and the Creation of Modernity will appeal to all of those fascinated by the history of art and the remarkable lives of Renaissance masters.
"Caravaggio as a Modernist: What is Modernism?" presents seventeenth-century Caravaggio as a modernist artist. In this book, modernism is perceived not as a style dependent on time and space but as an essential system of values connected to a subjective view of the world. This book examines the meaning of the artist's realism, the reflection of the artist's individuality in his work, from the points of view of both content and form, as well as Caravaggio's religious approach, which is interpreted as an existentialist protest. The reader is exposed to perceive Caravaggio as an artist rebelling against his times' conventions, while also opening up to a focused, concise comprehension of modernism. The book and its unique, original thesis are based on Kedar's MA dissertation, available for the first time in English, with a new editor's foreword.
As this collection makes clear, the paths to grasping the complexity of Caravaggio’s art are multiple and variable. Offering new or recently updated interpretations of the works of Caravaggio and the Caravaggisti, this book 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.
In 1905, Caravaggio was resurrected as a figure of historical importance when art critic Roger Fry designated him as the harbinger of modern art. In his commentary on the artist, Fry declares that: "He was, indeed, in many senses the first modern artist; the first artist to proceed not by evolution but by revolution; the first to rely entirely on his own temperamental attitude and to defy tradition and authority." Fry's assertion of Caravaggio's modernity is derived from early-modern biographies on the artist, which claim that Caravaggio self-consciously broke from the art of the past in a deliberate act of artistic revolution. The conflation of the artist's biography with his work has remained a constant in Caravaggio scholarship since its inception. Modernity's Caravaggio is a character with many guises - a painter, a sodomite, a pimp, a murderer, a fugitive, and a knight - all of which have molded our perception of a man who died centuries ago. Caravaggio's modern appeal is evident in the numerous exhibitions, movies, miniseries, novels, and even a ballet, produced in celebration of the artist Fry proclaimed "one of the most interesting figures in the history of art." This dissertation traces Caravaggio scholarship, as well as popular manifestations of the artist, through the twentieth century to present day by probing the theoretical and methodological trends that have shaped the discourse. My aim is to demonstrate that modernity's Caravaggio is a construction derived from the most prevalent historical, aesthetic, and philosophical debates of the twentieth century.
A psychoanalytic reading of the homoerotic messages in the early portraits of Michelangelo Caravaggio explores the artist's attempts to move beyond such relations, his fascination with imaginary secrets, and experiments with a new mode of connectedness in his paintings. Reprint.
A major reevaluation of Caravaggio from one of today's leading art historians This is a groundbreaking examination of one of the most important artists in the Western tradition by one of the leading art historians and critics of the past half-century. In his first extended consideration of the Italian Baroque painter Michelangelo Merisi da Caravaggio (1573-1610), Michael Fried offers a transformative account of the artist's revolutionary achievement. Based on the A. W. Mellon Lectures in the Fine Arts delivered at the National Gallery of Art, The Moment of Caravaggio displays Fried's unique combination of interpretive brilliance, historical seriousness, and theoretical sophistication, providing sustained and unexpected readings of a wide range of major works, from the early Boy Bitten by a Lizard to the late Martyrdom of Saint Ursula. The result is an electrifying new perspective on a crucial episode in the history of European painting. Focusing on the emergence of the full-blown "gallery picture" in Rome during the last decade of the sixteenth century and the first decades of the seventeenth, Fried draws forth an expansive argument, one that leads to a radically revisionist account of Caravaggio's relation to the self-portrait; of the role of extreme violence in his art, as epitomized by scenes of decapitation; and of the deep structure of his epoch-defining realism. Fried also gives considerable attention to the art of Caravaggio's great rival, Annibale Carracci, as well as to the work of Caravaggio's followers, including Orazio and Artemisia Gentileschi, Bartolomeo Manfredi, and Valentin de Boulogne. Please note: All images in this ebook are presented in black and white and have been reduced in size.
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.
Michelangelo Merisi da Caravaggio (1571-1610) has long been recognized as one of the great innovators in the history of art. Through detailed analysis of paintings from his early Roman period, 1594-1602, this study now situates his art firmly within both its humanistic and its scientific context. Here, both his revolutionary painterly techniques--pronounced naturalism and dramatic chiaroscuro--and his novel subject matter--still-life compositions and genre scenes--are finally put into their proper cultural and contemporary environment. This environment included the contemporary rise of empirical scientific observation, a procedure--like Caravaggio's naturalism--committed to a close study of the phenomenal world. It also included the interests of his erudite, aristocratic patrons, influential Romans whose tastes reflected the Renaissance commitment to humanistic studies, emblematic literature and classical lore. The historical evidence entered into the record here includes both contemporary writings addressing the instructive purposes of art and the ancient literary sources commonly manipulated in Caravaggio's time that sanctioned a socially realistic art. The overall result of this investigation is characterize the work of the painter as an expression of "learned naturalism."
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.