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 【每日3图】CARAVAGGIO Italian painter 1573-1610 |
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【每日3图】CARAVAGGIO Italian painter 1573-1610 -- 2u2m - (28584 Byte) 2002-11-11 周一, 上午2:56 (896 reads) |
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作者：2u2m 在 寒山小径 发贴, 来自 http://www.hjclub.org
Salome with the Head of St John the Baptist
c. 1607
Oil on canvas, 90,5 x 167 cm
National Gallery, London
On his way back to Rome Caravaggio returned to Naples. This harsh late work has none of the beauty of some of the late Sicilian pictures, such as the altarpiece stolen from the Oratory of San Lorenzo in Palermo, and it may reflect the assault Caravaggio endured in the Osteria del Cerriglio in the city. A sense of the tired mood of one aware of the pointlessness of a ruthless vendetta pervades the painting.
The Baptist has been executed for denouncing Salome's mother Herodias over her illicit marriage with Herod. Caravaggio uses the device of planting two heads - Salome's and her maid's (or her mother's) - so close together that they seem to grow out of one body as the contrasting stages of youth and age. This had been a trait of Leonardo's, and the way that the head of St John is presented to the spectator recalls a picture by Leonardo's pupil Luini, whose Salome also looks away from her victim. The executioner takes no joy in what he has been commanded to do. He feels only a stunned emotion in keeping with the sombre tones that Caravaggio adopts.
Salome with the Head of the Baptist
c. 1609
Oil on canvas, 116 x 140 cm
Palazzo Real, Madrid
This painting (which was earlier in the Casita del Principe, Escorial) was executed by Caravaggio to send to the Grand Master of Malta to appease him. It essentially follows the earlier version, today in London. The only slight change is in the pose of the executioner. And yet the two works are very obviously different. This later version rises out of an abyss of shadow. The executioner thoughtfully observes the result of his work, instead of lifting up the Baptist's head with certainty.
Sick Bacchus
c. 1593
Oil on canvas, 67 x 53 cm
Galleria Borghese, Rome
Among Caravaggio's early works, this painting, in which the pose of the arm may recall his debt to the kneeling shepherd in a fresco by Peterzano, belongs to the small group which has always been seen as self-portraits. The livid colours of the subject's face, his teasing smile and the mock seriousness of his mythological dignity all reinforce the attempt to undermine the lofty pretensions of Renaissance artistic traditions. Here is no god, just a sickly young man who may be suffering from the after-effects of a hangover. There is no mistaking the artist's delight in the depiction of the fine peaches and black grapes on the slab, the white grapes in his hand and the vine leaves that crown his hair, but the artist is not content merely to demonstrate his superb technique: he wishes to play an intimate role and only the slab separates him from the viewer. His appearance is striking rather than handsome: he shows both that his face is unhealthy and that his right shoulder is not that of a bronzed Adonis, as convention required, but pale as in the case of any man who normally wears clothes.
St Jerome
1605-06
Oil on canvas, 118 x 81 cm
Monastery, Montserrat
The suntan revealed in this upright picture on the old man's face and hands, in contrast to the light color on his arms and upper body, indicates that Caravaggio was again studying from a living model. Strong shadows disturb the structural features of the upper body. With only a piece of white drapery around his loins, and his Cardinal-red mantle slung across his legs, the old man has his left hand resting on his mantle, which also covers the table, whilst he is pensively stroking his beard with his right hand. Although his head is lowered, he is not looking at the skull in front of him. That said, the skull's empty eye-sockets appear to be staring at him.
St. John the Baptist
c. 1604
Oil on canvas, 172,5 x 104,5 cm
Nelson-Atkins Museum of Art, Kansas City
In around 1605 Caravaggio dealt with St. John the Baptist in two splendid compositions, one in the Kansas City Gallery, the other in the Galleria Nazionale di Arte Antica in Rome. The former is laid out vertically, the latter horizontally. Both lend themselves to a modernistic reading aimed at pointing out a certain air between contempt and arrogance. In effect what we are dealing with here are splendid exercises in modeling the body through the play of light and shadow.
In the version now in Kansas City, the figure is set before a dense curtain of plants; in that in Rome, there is only the trunk of a cypress tree, on the left. Both are admirable feats of painting, and it is understandable that collectors competed with each other for the artist's works. Caravaggio in turn knew how to make apparently uninteresting religious themes into paintings desirable even for his aristocratic patrons.
Supper at Emmaus
1601-02
Oil on canvas, 139 x 195 cm
National Gallery, London
The gospel according to St Luke (24:13-32) tells of the meeting of two apostles with the resurrected Christ. It is only during the meal that his companions recognize him in the way he blesses and breaks the bread. But with that, the vision of Christ vanishes. In the gospel according to St Mark (16:12) he is said to have appeared to them "in an other form" which is why Caravaggio did not paint him with a beard at the age of his crucifixion, but as a youth.
The host seems interested but somewhat confused at the surprise and emotion shown by the apostles. The light falling sharply from the top left to illuminate the scene has all the suddenness of the moment of recognition. It captures the climax of the story, the moment at which seeing becomes recognizing. In other words, the lighting in the painting is not merely illumination, but also an allegory. It models the objects, makes them visible to the eye and is at the same time a spiritual portrayal of the revelation, the vision, that will be gone in an instant.
Caravaggio has offset the transience of this fleeting moment in the tranquillity of his still life on the table. On the surfaces of the glasses, crockery, bread and fruit, poultry and vine leaves, he unfurls all the sensual magic of textural portrayal in a manner hitherto unprecedented in Italian painting.
The realism with which Caravaggio treated even religious subjects - apostles who look like labourers, the plump and slightly feminine figure of Christ - met with the vehement disapproval of the clergy.
作者：2u2m 在 寒山小径 发贴, 来自 http://www.hjclub.org |
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- 提一个建议 -- Mew2 - (186 Byte) 2002-11-11 周一, 上午11:16 (257 reads)
- 可以试试。 -- 2u2m - (68 Byte) 2002-11-11 周一, 下午12:55 (237 reads)
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