Individual Artists

The Age of Caravaggio by Bradford D. Kelleher

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By Bradford D. Kelleher

Michelangelo Merisi (or Amerighi) da Caravaggio (29 September 1571? – 18 July? 1610) was once an Italian artist energetic in Rome, Naples, Malta, and Sicily among 1592 (1595?) and 1610. His work, which mix a practical statement of the human country, either actual and emotional, with a dramatic use of lights, had a formative impression on Baro

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The striking, unexpected pictorial character of the present painting, described often proto-Baroque as , 1931, p. 343) or even to a seventeenth- century imitator, perhaps not necessarily 1957 p. 961. Although Jacopo's associate of twenty years before, Bonifazio de' Pitati, had treated this theme as an elegant garden party in a patrician vUla, Bassano casts the scene in a simple setting ot hvpnotic austerity. The reced- ing line of columns, and the elegantly styl- ized lady at the center, in particular, distant- echo maniera elements from ly lier works, but Jacopo his shifts his own ear- concern to the representation of a transfixed stillness in which all participants await Dives's harsh dismissal of the pathetic derelict recumbent the at Massively coarse in physique, left.

In the Entombment his most celebrated picture, and the one most frequently mentioned, and copied, as late as the nineteenth century, because of its union of Populist realism with the "Grand Manner" echoes of the work of Savoldo, Callisto Piazza, and Simone Peterzano occur in a composition in which the — figures, (in shown in motion, as in Raphael's Entombment the Galleria Borghese, Rome), are arranged in the manner of an ancient immune to the man years. His naturalistic relief. Even Caravaggio was not influence of ancient art during his Roreinterpretation of a classical — terms as expressed in the model in Crowning with Thorns (cat.

First years of the seventeenth century, Caravaggio dedicated himself principally to the representation of sacred themes. Through his examination of the subtle, textual interpretations of these canonical subjects, he was able to turn his attention to the fundamental problems of the relationship of Man to God, Sin, and Salvation, arriving at important innovative iconographic solutions. He chose to represent the sublime themes of religious art in the guise of humble appearances, thereby creating a scandal that led to the refusal of some of his work.

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