Michelangelo da Caravaggio (German Edition)
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Der zu seinen Lebzeiten als kontrovers geltende italienische Maler Michelangelo Merisi da Caravaggio (1571-1610) hat seinen heutigen Weltruhm als hervorragender Künstler des Barock einer Wiederentdeckung im frühen 20. Jahrhundert zu verdanken. Seitdem sind die Bilder des streitbaren Verfechters der realistischen Malweise geschätzt wie nie zuvor. Zu recht, denn es war Caravaggio, der religiöser Kunst eine neue Menschlichkeit einhauchte, mit seinen realitätsgetreuen und gleichzeitig sinnlichen Bildnissen von Menschen, Heiligen und Göttern. Für Caravaggio galt allein die Schönheit des Naturgetreuen, dass er geschickt mit der von ihm neu „restaurierten“ chiaroscuro-Technik in Szene zu setzen wusste. Dieses Streben brachte ihn auf Kollisionskurs mit den Künstlern und dem Klerus seiner Zeit, die ihm Pietätlosigkeit und einen verruchten Lebensstil vorwarfen.
Dieses Buch vereint die Erkenntnisse zweier Caravaggio-Experten, Félix Witting und M. L. Patrizi, und berichtet vom turbulenten Leben und Schaffen dieses genialen Malers.
apostle as he touches the side of the Risen Christ with his finger60. Although J. Meyer mentions the disappearance of this work, which was once exhibited in the Palazzo Giustiniani, it has since been found and is now in the Schloss Sanssouci in Potsdam61. Contrary to decadent figurative compositions, in his work, Caravaggio never represented a god surrounded by clouds, nor a divine eye with almighty vision in the classic radiant triangle. The gazes of Caravaggio’s Madonnas, Saints, or Christs
Caravaggio’s life, exiled and condemned for the crime he had committed in Rome against Tomassoni, but having found protection and refuge in the Order of Malta, he waited patiently to return to Rome when pardoned by the Pope. This signature, written with the blood of the saint, seems to reflect the repentance and the aspiration of the painter to his salvation. It can also be interpreted as the affirmation of his notoriety as a painter because the paintings undertaken in Malta were very favourably
taverns of Rome and Naples. In the famous painting Rest on the Flight into Egypt (pp. 28-29), he places a large bottle of wine next to the figure of Saint Joseph. There are also the bunches of grapes in the painting of Bacchus (p. 25) and the self-portrait as Sick Bacchus, or Bacchus with Grapes (p. 9), and the fruit in Boy Peeling a Fruit (p. 14), Boy Bitten by a Lizard (p. 13), Boy with a Basket of Fruit (p. 10), and Basket of Fruit (p. 26) in the Ambrosiana Gallery. In The Lute Player (p.
remained in prison and obtained his freedom for a large sum of money and would probably have reached Porto Ercole by land, perhaps following the coast on foot. There he fell ill and died. On their return to port, the crew of the felucca returned the rest of his belongings to the Marquise of Caravaggio who lived at Chiaia from where Caravaggio was born. I also tried to find out if the paintings were there and I discovered they were missing, except for the following three: two paintings of Saint
Baglione, G. op.cit. 49 Ibid., (pp. 3, 8). 69 Compare with Burckhardt, J. (1909). Cicerone, (p. 985). 50 Catalogue n° 365 ; canvas, height: 2.32 m x width: 1.83 m. Compare with Hirth-Murther, Cicerone der Königliche Gemäldegalerie Berlin (p. 111); Gesellschaft (Photographic Association), Berlin. 70 Burckhardt, J. op.cit., (p. 816, 969). 51 Catalogue n° 32; according to Eisenmann, (1879) and Burckhardt, op.cit., (p. 984), the painting belonged to Caravaggio himself; the colours are imprecise,