2u2m
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加入时间: 2004/02/15
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作者：2u2m 在 寒山小径 发贴, 来自 http://www.hjclub.org
Ecce Homo
c. 1606
Oil on canvas, 128 x 103 cm
Palazzo Rosso, Genoa
The attribution to Caravaggio is debated, however, most of the scholars accept it as an original Caravaggio in a bad state of preservation. The figure of Pilate is an assumed self-portrait of Caravaggio.
There is another version in the Museo Nazionale in Messina which is probably the work of a Sicilian follower of Caravaggio or a crude copy of an original Caravaggio.
Flagellation
c. 1607
Oil on canvas, 390 x 260 cm
Museo Nazionale di Capodimonte, Naples (loan)
This major painting, which (like the Seven Works of Mercy) dates from Caravaggio's first visit to Naples, is disquieting in its own special way. In May 1607 he was paid by Tommaso de' Franchis for an altarpiece to hang in the family chapel in San Domenico, where it stayed till 1972.
The atmosphere is so dense that the pillar before which Christ is being whipped can hardly be made out, but the handling of paint is so fluent that the cruel action taking place has its own powerful rhythm. The viewer is caught up in the horror.
The near-naked Christ is being twisted into position by the torturer on the right while the torturer on the left tears at his hair. At the bottom left a third tormentor stoops to prepare his scourge.
The composition is derived from a fresco by Sebastiano del Piombo, but its restricted palette of dismal colours gives it a grim force that few earlier paintings had equaled.
Madonna del Rosario
1607
Oil on canvas, 364,5 x 249,5 cm
Kunsthistorisches Museum, Vienna
In its huge scale and multi-figured design the grandest of Caravaggio's paintings, this may have been commissioned by the Duke of Modena in 1605 and undertaken in Naples. It was offered to the Duke of Mantua in 1607 and was bought by a consortium of Flemish artists, including Rubens, by whom it was offered to the Dominican church in Antwerp.
The theme is Dominican. St Dominic and his friars spread the devotion of the rosary; and here the Madonna, as Queen of Heaven, issues orders to the saint to her right, who clutches a rosary, and the Dominican St Peter Martyr to her left. Beside St Peter Martyr stands the most famous of Dominican theologians, St Thomas Aquinas.
Madonna, Child and saints form a heavenly triangle concealed from the classically costumed suppliants at the front, who kneel in prayer with arms outstretched to St Dominic, while a donor in modern ruff and doublet eyes the viewer. The column to the left and the curtain overhead add to the formality of the scene. Caravaggio achieves an elaborate ordering and interlocking of forms that heralds the typical Baroque altarpiece.
Madonna with the Serpent
1606
Oil on canvas, 292 x 211 cm
Galleria Borghese, Rome
The painting is also called Madonna dei Palafrenieri).
It was in late 1605 that Caravaggio finally obtained a commission for St Peter's. The papal grooms or palafrenieri invited him to paint an altarpiece for them, and in April 1606 it was exhibited in the basilica for a few days before being moved to the grooms' church of Sant'Anna nearby. If the sympathy of Paul V had facilitated the commission, his nephew soon profited by it, for later in the year, just after the painter had left Rome for good, it was added to the Borghese collection.
Under the watchful gaze of St Anne, Jesus's apocryphal grandmother, Mary helps a naked Christ Child to tread on a snake. The snake may be interpreted as Satan and indirectly as heresy, for Mary and Jesus are free of sin and its consequences, Mary as a virgin mother and by reason of her Immaculate Conception, Jesus as God made man - and they combine to crush the serpent under their feet.
This large iconographic canvas has a certain humanity thanks to Mary's naturalness and the lack of inhibition with which Caravaggio depicts Christ naked (a fact that gave offence to some connoisseurs at the time, according to Bellori). Though their haloes are aligned, a dark gulf separates the pretty Mary from her ugly mother; and if the palafrenieri were willing to let Cardinal Scipione Borghese buy the picture so soon after they had received it and paid for it, it may have been because they disliked the unflattering depiction of their patroness.
Rest on Flight to Egypt
1596-97
Oil on canvas, 133,5 x 166,5 cm
Galleria Doria-Pamphili, Rome
The story of the Holy Family's flight was one of the most popular apocryphal legends which survived the prohibitive decrees of the Council of Trent and often appeared in painting from the end of the sixteenth century. Caravaggio's idyllic painting is an individualistic representation of this.
The artist ingeniously uses the figure of an angel playing the violin with his back to the viewer to divide the composition into two parts. On the right, before an autumnal river-front scene, we can see the sleeping Mary with a dozing infant in her left; on the left, a seated Joseph holding the musical score for the angel. The natural surroundings reminds the viewer of the Giorgionesque landscapes of the Cinquecento masters of Northern Italian painting, and it is fully imbued with a degree of nostalgia. Contrasting the unlikelihood of the event is the realistic effect of depiction, the accuracy of details, the trees, the leaves and stones, whereby the total impression becomes astonishingly authentic. The statue-like figure of the angel, with a white robe draped around him, is like a charmingly shaped musical motif, and it provides the basic tone for the composition. It is an interesting contradiction - and at the same time a good example for the adaptability of forms - that this figure of pure classical beauty is a direct descendant of Annibale Carracci's Luxuria from the painting "The Choice of Heracles".
It has not been clearly decided what was the textual source for the music-playing angel in the story of the flight into Egypt. Charming is Caravaggio's decision to actively involve St Joseph in the music-making.
作者：2u2m 在 寒山小径 发贴, 来自 http://www.hjclub.org |
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【每日3图】CARAVAGGIO Italian painter 1573-1610
