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This book concentrates on a few crucial years of Caravaggio's development, in order to cast light on what made the artist such a revolutionary figure. It argues that this revolution was one of technique rather than style, and involved the sophisticated use of a camera obscura and so-called 'burning' or parabolic mirrors, exploiting new advances in glassmaking and optics. Because the results Caravaggio obtained by his new methods were so different he created a sensation, although these innovations were rapidly assimilated and the artistic establishment worked successfully to restore their way of doing things, so that the true novelty of his art in the 1590s has been obscured. Clovis Whitfield uses a lifetime of study of the period to discuss not only Caravaggio's technology but also his patronage and cultural context, the Rome of Clement VIII, concentrating particularly on Caravaggio's homosexual patron Cardinal Francesco Maria Del Monte and analysing the taste and role of his other early supporters as well. Whitfield's Caravaggio was the son of a bricklayer, untrained in traditional artistic disciplines, who instead took the dramatic step of painting exactly what he saw with his reproductive aids. Galileo's hypothesis drawn from observation and Caravaggio's novel description of what he saw were, according to Whitfield, parallel attempts to explain features of the many-layered reality that surrounds us. The book features remarkable new photographs and especially details of Caravaggio's paintings and those of his followers and rivals that will dramatically refresh hackneyed perceptions of this crucial figure and his world. "This revolutionary book will transform studies of the renegade 'people's artist'." Art Quarterly, Spring 2012
A New York Times Book Review Editors' Choice and a Washington Post Notable Book of the Year "This book resees its subject with rare clarity and power as a painter for the 21st century." —Hilary Spurling, New York Times Book Review Michelangelo Merisi da Caravaggio (1571–1610) lived the darkest and most dangerous life of any of the great painters. This commanding biography explores Caravaggio’s staggering artistic achievements, his volatile personal trajectory, and his tragic and mysterious death at age thirty-eight. Featuring more than eighty full-color reproductions of the artist’s best paintings, Caravaggio is a masterful profile of the mercurial painter.
In Caravaggio, Varriano uncovers the principles and practices that guided Caravaggio's brush as he made some of the most controversial paintings in the history of art. He sheds an important new light on these disputes by tracing the autobiographical threads in Caravaggio's paintings, framing these within the context of contemporary Italian culture.
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. And with close to 200 color images, The Moment of Caravaggio is as richly illustrated as it is closely argued. 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.
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.
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.
THE INFORMED EYE is a beautiful and blessedly straightforward exposition of the essential principles and history of Western art. In these pages the distinguished art historian Bruce Cole uses a progression of concise, specific explorations—one might call them case studies—of individual works of art or groups of related works to explore the defining characteristics of great art.
Caravaggio was one of the most important Italian painters of the 17th century. He was, in fact, the wellspring of Baroque painting. In Hibbard's words, Caravaggio's paintings "speak to us more personally and more poignantly than any others of the time". In this study, Howard Hibbard evaluates the work of Caravaggio: notorious as a painter-assassin, hailed by many as an original interpreter of the scriptures, a man whose exploration of nature has been likened to that of Galileo.
Finn Garvie’s life is one spectacular mess. He spends most of his time fannying around a makeshift Glasgow studio, failing to paint his degree portfolio, while his girlfriend Lizzi treats him like one of her psychology patients, and his best friend Rob is convinced that the tattoos he designs are the height of artistic achievement. To top it all, Finn is worried that some stinking bastard is hanging around, spying on him, laughing at his cock-ups and eating his leftover curry. Fortunately, he has plenty of techniques to distract him – tackling the church hall renovations with the help of his alcoholic neighbour; pining after Kassia, the splendidly stroppy au-pair; and re-reading that book on Caravaggio, his all-time hero. Things take a turn for the strange when he finally encounters the person who’s been bugging him, and it seems to be none other than Caravaggio himself... Art, truth and madness come to blows in this darkly funny debut novel from a startling new talent. 'Fascinating and incredibly funny – this is a bold new voice in Scottish fiction' 17 Degrees 'She has written a Scottish novel of significance and I can’t recommend it enough' Scots Whay Hae 'Memorable and intriguing' Undiscovered Scotland