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Title: Temptation on the Mountain from the Maestra Altarpiece Artist: Duccio Date: 1308-1311 Medium: Tempera Location: Siena Cathedral (design by Pisano) Particularly aware of space, in depictions of biblical images that actually mirror Vienna at the time, innovative use of fabric to soften hard edges of Byzatine art. Emblem of religious righteousness and political power, dark city states near the devil (perhaps in the countryside cantado)
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Title: Entrance into Jerusalem from the Maesta Altarpiece Artist: Duccio Year: 1308-1311 Medium: Tempera and Gold on Wood Location: Cathedral of Siena SPACE - Outdoor representation. Just as Sienna would’ve looked when the painting paraded to the chapel with a direct reference to the Palazzo Publico.. Door as an access point and line as vantage point to the biblical
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Title: Maesta Altarpiece, Madonna and Child Enthroned Artist: Duccio Year: 1308-1311 Medium: Tempera and Gold on Wood Location: cathedral of Siena SPACE - mirroring the design of the Cathedral, move away from Byzantine in her body's tork and his attempt at perspective with the throne |
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Title: Guidoriccio da Fogliano Artist: Simone Martini Year: 1333 Material: Fresco
Location: Palazzo Publico, Siena
Relevance: Siena as portrayed as in the light with the contrasting city state in darkness, displays a bit of his power outright, Had international influences
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Title: The Well Governed Countryside Artist: Ambroggio Lorenzetti Year: 1338-1339 Medium: Fresco Location: Palazzo Publico, Sienna Significance: Secular state of Siena’s prosperity, an allegory, also used the space, picking the light wall for good government, important also in that it was the first panoramic of city and countryscape. |
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Title: Good Government: The Well-Governed City Artist: Ambroggio Lorenzetti Date: 1338-1339 Medium: Fresco Location: Palazzo Publico, Siena, Italy Significance: Secular state of Siena’s prosperity, an allegory, also used the space, picking the light wall for good government, important also in that it was the first panoramic of city and countryscape. |
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Title: Last Judgement Artist: Giotto Date: 1303-1305 Location: Arena Chapel, Padua, Italy Medium: Fresco Significance: First real break with the Byzantine style establishing painting as a major art form “father of Western pictoral art” and master of space. Mastered pictoral expression based on observation “early scientific” – real emphasis on presence. In corner is Enrico Scrovegni presenting heavenly chapel to angels themselves
Depicting the architecture intensifies the sense of being in one place at one time
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Title: Lamentation Artist: Giotto Year: 1303-1305 Location: Arena Chapel, Padua, Italy Medium: Fresco Significance: PRESENCE Closeness between Mary and Jesus made manifest in the arms holding Jesus. Second woman is a mirror of Mary without a diminution of power and intensity even at the furthest removed (Mary Magdalene) there’s still intensity. Theres no relief around the edges. John the evangelist gives intensity. The body transects the ground in a crucified gesture which allows us to understand the slope as a literal decent, it makes us realize that the earthiness of the slope is aligned with Jesus to manifest his humanity. Gesture also calls attention to the sky and the grieving angels which extend the anxiety into the sky. Angels are physical phenomenon (like comets) material entities in which nothing is not material Energy culminates in the back-turned figure, which is opposite of the at Byzantine frontal. That which you can not see is most powerful
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Title: The Kiss of Judas Artist: Giotto Year: 1503-1505 Location: Arena Chapel, Padua, Italy Medium: Fresco Significance: torches and spheres are a set of visual exclamation points conveying confusion easily, everything is meant to consolidate down to the moment of the kiss (against Giotto)Judas’ cloak for example sweeps over Christ, into his own narrative, which gives him power = visual brevity. The gap creates an open space to which your eye is drawn and in its blankness it conveys the certain sweep of Judas’ betraying gesture but the exceptional suddenness and narrative power of this one moment. Within such marvellous moments of compression worlds unfold out from it Differences in character are descriptive
• Jesus as vertically oriented with a beautifully sculpted face
• Judas’ face is aligned with the horizontal – lack of space between eye and eyebrow, hooked nose, curly hair
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Title:The Meeting at the Golden Gate Artist: Giotto Date: 1303-1305 Location: Arena Chapel, Padua, Italy Medium: Fresco Signifance: Giotto as father of pictoral representation and painting (leaving Byzantine) Kissing of Anna and Joachim, Crushing of energy, meeting of narratives, Elements of compression – the walking in adds element of activism. Gate references a roman gate in Northern Italy… tower aligns with the kiss. Gate puts thunderous end to 6 frames
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Title: The Annunciation to Anna Artist: Giotto Date: 1303-1305 Location: Arena Chapel, Padua, Italy Medium: Fresco Significance: PRESENCE Structure of house, and servant spinning, echos the frame itself. Anna seems larger, the bed curtain isolates her, draws attention to her, and highlights her connection with the angel. Angel is foreshortened, collapsed. Suggests violence and rupture of the supernatural
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Title: Joachim Among the Shepherds Artist: Giotto Year: 1303-1505 Location: Arena Chapel, Padua, Italy Medium: Fresco Sculptural roundness and thick physical dense rendering of the body. He’s trying to make two dimensional depictions have the quality of low relief sculpture. The landscape has a physical thickness too. Barren mount, expresses his forelorn condition. Sheperds aligned with the hut. There’s an intense gap between the figures – physical and sensuous. HUMANISM
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Artist: Fra Angelico
Title: San Marco Alterpiece
Date: 1438-1440
Medium: fresco Location: Church of San Marco, (Florence, Italy)
Two sentences significance: With the orthogonal on the rug, Angelico plays with the new idea of perspective introduced by Masaccio and Paolo Uccello. With these orthogonals and the geometric shapes on the rug, Angelico mathematizes religious mystery.
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Artist: Fra Angelico Title: Annunciation (Inside, Cell 3) Date: 1438-1445 Medium: Fresco Location: Monastery of St. Marco, Florence, Italy The architecture resonates with the actual space of the room where the fresco was originally painted, giving an illusory affect. but the central white glowing space between mary (and her clothes) and the angel gives a mysterious affect |
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Title: Annunciation (Outside) Artist: Fra Angelico Date: 1438-1445 Medium: Fresco Location: Monastery of St. Marco (Florence, Italy) Angelico uses perspective but rejects the rational system associated with it by making the Virgin appear to be in two places at once: at the center of the picture and at the same time on the right of the picture. Further, the garden echoes the chastity of Mary but at the same time reminds the viewer of the Garden of Adam and Eve.
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Title: Battle of San Romano Artist: Paolo Uccello Date: 1440-1450 Medium: termpera and oil on poplar Painting depicts a Florentine victory over the Sienese. Uccello uses perspective to create a more realistic scene, projecting you into the distance, into the countryside, juxtaposing the gruesome battle in the foregrouns with the peace of the land in the distance/ The hat ack int he center is extremely detailed, far beyond what is necessary for rendering an everyday object, and this speaks to his desire to render the world mathematically. |
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Title: The Deluge Artist: Paolo Uccello Date: 1447 Location: Santa Maria Novella (Florence Italy) Medium: Distemper mural transferred to canvas Uccello makes perspective the subject of the painting with two scenes sharing hte same vanishing point with lightening hitting it to emphasize it. Compared to the Trinity by Mossacio, which has a relatively ordered perspective this painting has a riot-like sense of perspective. |
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Title: The Expulsion Artist: Masaccio Date: 1427 Location: Brancacci Chapel, St. Maria del Carmine (Florence, Italy) Medium: Fresco This is Masaccio's most famous work as the intense physicality oof the bodies immediately strikes the viewer. the earthliness of the fresco and the out-of proportion short arms signifies humanity in a powerful way: it is not perfect. |
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Title: The Tribute Money Artist: Massacio Date: 1427 Medium: Fresco Location: Brancacci Chapel, in the basilica of Santa Maria del Carmine (Florence, Italy) Like the Trinity this painting uses perspective; this time the vantage point does not push us beyond the figures, btu rather to Christ himself. The bodies are scultred by light which comes from an angle, making shadows. |
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Title: The Trinity Artist: Masaccio Date: 1426-1427 Medium: Fresco Location: Church of Santa Maria Novella (Florence, Italy) This painting is a good example fo the new style which utilized perspective that the Florentine artists introduced at the time. However, the painting is only half given over to perspective as while the octagonals on the ceiling move the viewer's eyes toward one vanishing point, Christ is flattened pictorally as if Masaccio is not ready to give over the painting to the new sytle. This ambiguity isbest seen in Mary's eyes; one looks directly at us while the other incorporated into the perspective.
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Title: Crucifixion Diptych Artist: Rogier van der Weyden Date: 1463-1464 Material: Oil on panel Meant to be shown together because the gown carries over, vaguely reminiscent of 20th century painting in its immediacy |
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Title: The Descent from the Cross Artist: Rogier van der Weyden Date: 1435 Medium: Oils on Park Location: Painted for a church in Louvain in Belgium (Confraternity of Crossbowmen)
Famous because:
-No one had seen anything like it in terms of powers of description, ability to life you up almost into the word
-No perspective, just many, many planes packed in for maximum impact History of those who owned it:
-Mary of Hungary saw it, paid for it with an organ, brought in back to enchanted chamber in her castle where it was a big attraction
-King Philip II of Spain came into possession of it (had been packed in a crate, assumed to be lost at sea); stayed at palace in Madrid until 1939
Striking:
Doubling of Jesus’s body and Mary’s body
Speaks of 15th century theology of compassion
Mary is someone who feels the crucifixion in every bone of her body, just as you should as the viewer
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Title: The Merode Altarpiece Artist: Robert Campin Date: 1425-1428 Medium:Oil on wood For private devotion
A scene of the Annunciation
NO PERSPECTIVE (as an Italian artist would understand it)
Tilts up, especially in the center
Artist wanted you to see things, get the narrative instead of just an illusionistic space
Symbolism
Represents a sort of threat; workbench tools foreshadow the tools of the crucifixion; mousetrap is the Devil’s Mousetrap; emphasis on materiality
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Title: Man in Red Turban Artist: Van Eyck Date: 1433 Material: Oil on panel DETAIL DESCRIPTION Self-portrait? Exact representation (details like stubble), "this is my effort, Jan van Eyck made me" - increasingly individualy focused |
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Artist: Jan van Eyck Title: Madonna of the Canon can der Paele Date: 1434-1436 Material: Oil on wood Commisisoned by van der Paele, illustrates the difference beteen northern and southern art: tilted up so that you can see everything (no orthagonals) - more obsessed with color and texture than mathematics. Thought of a painting as existing in your eye not as something you look through. |
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Artist: Jan van Eyck Title: Arnolfini Wedding Portrait Date: 1434 Material: Oil on oak Power of Description
Elaboration of “stuffs,” of materials i.e. the fur of the cloak, green wool of the dress, fur of the dog, wood of the building, leather of the straps
Two Elements that might threaten description but don’t:
Mirror in the background
Tour de force of illusionism, again says “van Eyck was here” Series of circles around the mirror show scenes from Jesus and his crucifixion
Clues you in to other things that may be symbols, i.e. the dog Perspective is approximate, but not exact because no exact vanishing point
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Title: Ghent Altarpiece Artist: Jan van Eyck Date: 1432 Location: Saint Bavo Cathedral, Ghent Medium: Oil on Wood Oil paint renders the body with slickness of hte skin, faces of unprecendent vividness instead of the clay quality of the body in frescoes. Small details included. Polyptch. |
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Title: Portrait of the Merchant Georg Gisze Artist: Holbein Date: 1532 Medium: Oil on panel Speaks to the new idea of selfhood with secularized religious iconography (implemeents of the passion - nails etc.) used in the physical realm of a merchant. Still northern in that it does not display correct perspective (right angle? no) |
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Title: Temptation of St. Anthony, part of the Isenheim Altarpiece Artist: Matthias Grunewald Date: 1510-1515 Material: Oil on panel For a monastic hospital and the saints depicted are associated with disease and cure. Note the bottom detail of the second interior which uses color incredibly, but remains grotestque. |
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Title: The Isenheim Altarpiece, this is what is shown with the doors closed Artist: Matthias Grunewals Date: 1510-1515 Material: Oil on panel Location:: chapel of the Hospital of St Anthong Insenheim, Germany Jesus' arm severed with the opening of the door |
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Title: Isenheim Altarpiece Artist: Matthias Grunewald Date: 1510-1515 Material: Oil on panel Location; Hospital of St. Anthony, Isenheim, Germany Annunciation, Angelic Concert, Madonna and Child, and Resurrection. |
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Title: Self Portrait in a coat with a fur collar Artist: Albrecht Durer Date: c. 1500 (he was 28) Material: Oil on panel Figure's frontality makes himselg godlike, without any background he becomes an iconic figure. the hand is making a blessing gesture, it is in reality clutching a fur collar which displays a groundness. the hyperbolically diplayed skill of the artist is the true subject (showing off) with a meticulous depiction of hair and beard. Divine proportion of the body. |
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Title: Portrait of Erasmus of Rotterdam Artist: Holbein Date: 1523 Material: Oil on panel Painted with both Erasmus and Holbein were living in Bassel. The book Erasmus is houlding was just finished and reads about the labors of Hercules. The relationship between the Column on the left and the books on the right could suggest that an immovable object balances with the dissemination of information - aka books can hold things up and transport us etc. (Manuscript as rising in prominence in N Europe) |
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Title: Virgin and Child with St. Anne Artist: Leonardo daVinci Date: 1508-1513 Materials: Oil on Wood
Location: Probably painted in Milan FLORENCE AND THE HIGH RENAISSANCE - Shows figures intertwined in a complex spacial arrangement that no one had ever seen before. "Threw down the gauntlet" - drama of artistic challenge. Subnote: Later interpreted as Freudian about his childhood in that he was born out of wedlock to peasant before being brought itno his father's family - so he has two mothers. Mystery of individuality. |
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Artist: Raphael Title: Madonna of the Meadow Date: 1505 Material: Oil on panel Location: Florence, Italy Made lots of Madonna's but this had a notably Raphael style (idea of individual style was new) beginning the modern nortion of authorship. Michelangelo was sculpturally dense, Leonardo was smoky and Raphael was calmer and more meditative Quotes daVinvi with the left leg and long right arm |
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Artist: Leonardo daVinci Title: Seriously? Date: 1503-1505 Medium: Oil on poplar Location: Florence Different idea than the Durer portrait in that it has a background implying not godliness, but more a mystery of the self invoked by sfumato (smokey) atmosphere. The background also has physical analogies to the women. To daVinci there was a strong relation between body/earth. Rock/bones. Lake/Blood of Heart. Also implies the human mind is a mystery with activity of the brain implied in the landscape - ringlets, water and lines of eyes/horizon.
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Title: Doni Tondo Artist: Michelangelo Date: 1503-1504 Medium: Oil and tempera on panel Essentially answering the challenge of being able to tork legs and bodies posed by daVinci in the Madonna and St Anne |
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Artist: Michelangelo
Title: David Date: 1501-1504 Material: Marble Symbolizes Florentine civil ideals and the Medicis: Hero, Individual and Civic Engagement. Brithpoint of our conception of selfhood, in the liberation of a body already there, stands boldy apart from the world it fashins. individual as autonomous. Florence was politically instable, and just as David had protected his people and governed them justly, so too should the ruler of Florence justly govern and defend the city-state
Characteristic depiction of energy in reserve, like the tension of a coiled spring, as if in prelude to action. Classically influenced with an attention to anatomy and the classical nude. The turn of his head and muscular tension allude to an unseen presence, or figure – common in Hellenistic sculpture. Presented towering pent-up emotion rather than calm, ideal beauty
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Title: Moses Artist: Michelangelo Date: 1513-1515 Material: Marble Location: Rome (for Julius II) Was meant to be seen from below with seven other massive forms. the horns are a convention to help the viewer. Like David there is much energy and tension. Important difference between Rome and Florence. Rome was all about the domination of the papacy and Moses coming down from the mount while in Florence the David was about the sovereign individual. Reference to the Lochiwan. |
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Title: Expulsion of Heliodorus Artist: Rafael Date: 1512 Material: Fresco Location: Apolistic Palace, Vatican City (for Julius II)
Story from the Book of the Maccabees in the Bible, in which a pagan general enters the Temple of Jerusalem to steal a treasure, when all of a sudden, a magical, fantastic horseman and two equally apparitional figures appear who then rout the pagan general from the sacred place
Political message: Refers to Julius II’s desire to expel cardinals and other political figures. In the picture, Julius is on the same plane as the vanquisher, and Raphael and the printmaker are aligned with the two horsemen
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Artist: Michelangelo Title: Sistine Chapel, Creation of Man Date Date: 1511-1512 Material:Fresco Place: Sistine Chapel, Apolisitic Palace, Rome Entirely humanist representation of the scene. Adam is still a material earthy part whereas th lord is transcendent. Spark from the extended fingertop. Replaced the straight architectual axis of Leonardo. Complementary bodies. Arists power as aligned with divinity - making a world where there was blankness. ignuite they are meant purely artistically – the beauty of their own bodies and Michelangelo’s ability to make I do so, human creativity as such, it’s not the body signifying a religious or classical meaning
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Artist: Michelangelo Title: The Temptation and Expulsion from Paradise Date:1510-1511 Material: Fresco Location: Sistine Chapel, Rome Permutation of the Laocoön with the snake around the tree and the bodies of Adam and Eve flanking. The two figures are essentially taken from a chapel in florence, quoteing your own work. going back to giotto it condenses in a powerfulway. depicts the power of centripital concentration. Summarizes and brings to a perfected point a century of exploration of the human body. |
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Artist: Rosso Fiorentino Title: Dead Christ with Angels Date: 1526 Medium: Oil on canvas Fiorentino’s Christ is a riff on Michelangelo’s Adam. One answer to how you make art in the wake of such a formidable figure is that you take a political avenue undeveloped by the master and make it into your own poetics
In this picture, Fiorentino sexualizes the male aesthetic. Also see the Lacoön here. The coils of the snake are represented by the whorls in the candle. The sons are recast as angels
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Title: Allegory of Love Artist: Bronzino Date: 1544-45
Material: Oil on wood Location: Given to Frances I MANNERISM Emerged in the 1520s, overlapping considerably with High Renaissance art
• Most central tenet to mannerism is artifice, or a representation of a scene or idea, which High Renaissance artists tried to conceal through the use of perspective and shading to make their art look more natural
• Mannerists were less inclined to disguise the contrived nature of art production as were artists of the High Renaissance
• Artifice reveals itself in the imbalanced compositions and unusual complexities of mannerist art, which is also characterized by ambiguous space, departures from expected conventions, and unique presentations of traditional themes
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Artist: Bosch Title: The Garden of Earthly Delight, Hell (Right Panel) Date:1505-1510 Material:oil on wood Location: Palace of Henry III of Nassau, regent of Netherlands
above a giant bed that could hold 50 people
Triptic mode is just a medium for display of something much closer to our modern understanding of art – something to impress us. Brings something into being that didn’t exist before (that’s why art is different from journalism). Art creates its own world that brings you into the revelation of something you had no idea existed until the moment it was made. Not social data. Art can embrace “fictionality.” Renaissance conceptionin many ways.
Province of the fictional |
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Artist: Bosch Title: The Garden of Earthly Delight, Paradise (left panel) Date:1505-1510 Material:oil on wood Location: Palace of Henry III of Nassau, regent of Netherlands
above a giant bed that could hold 50 people
Triptic mode is just a medium for display of something much closer to our modern understanding of art – something to impress us. Brings something into being that didn’t exist before (that’s why art is different from journalism). Art creates its own world that brings you into the revelation of something you had no idea existed until the moment it was made. Not social data. Art can embrace “fictionality.” Renaissance conceptionin many ways.
Province of the fictional |
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Artist: Breugel the Elder Title: Netherlandish Proverbs: Date: 1559 Material: Oil on panel Indulgences audiences passion for detailed and close imafery. he complexity demands close scruity - captures Netherland morality and mentalirt. Comment on the human consition . Shows a disenchantment with the world. Invites viewers (like Bosch) to created paths of assocaition ebtween different elements. You have to experience it, it's not passive. In the end it's fairly visually disquieting Breuel’s picture has a man in the bottom right, directly above his signature.
What does it connect to? Multitasking, spilt milk, filling in the ditch after the calf has drowned? The man is in darkness with a lamp that sheds no light, reaching for an ax. Connected to violence, underside of things
At its most powerful, art may be the repository of savage energies. Not just moral edification, making you feel better, etc. It can stun you in a way that is indifferent to you and exerting a violent energy towards your understandings.
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Artist: Titian Title: Bacchus and Ariadne Date: 1522-23 Material: Oil on canvas Location: Venice, produced for Alfonso d'este for his Alabaster Room
Meditation on the power of surface:
Freize, Right to left procession of features, foregrounded - Quotes classical reliefs like an ancient Roman sarcophagus
Bacchus - Introduces us to the erotics – he is quoted from religious iconography transposed into an unabashedly sensual placement. Secularization and sensualization of religious iconography (mirrors Raphael and Michelangelo)
Ariadne as emphasizing surface – the gesture of surprise arrests the action and gives an emphasis to the sky, mirroring between gowns and clouds
Takes Ariadne out of her crown and puts it as a personal constellation in the sky
Sky as the most intense representation of surface with a clear blue
Bacchus and Ariadne - Boy meets girl and the rest of the world melts
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Artist: Titian Title: Diana and Actaeon Date: 1556 Material: Oil on canvas Location: Painted for Phillip II Poesie series As an exposition of surface:
Surface erotics in part about paint and flesh-
Equates flesh with oil painting as if they were made for one another
The trees blocking the distance emphaizes the surface
The branches as visualization of Diana’s evil eye gaze
Acteon’s gesture and the drape - a figure for a viewer coming into the presence of a stunning unexpected scene, A figure of aesthetic experience
Figure stands for the beholder
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Title: Rape of Europa Artist: Titian Date:1559-1562 Material: Oil on Canvas Location/History: for Phillip IIs Poesie scenes FLATNESS
Blue sky refuses depth. The pose of Europa/the tail suggests fecundity (baby at the bottom of the tail) – it’s not just sensual it’s producing, Compare with Diana and Callisto Parallels of child birth
Differences between Venice and Rome:
In Venice: Principle of creativity gendered as feminine with an emphasis on color and sensuality
In Rome/Florentine style : Michelangelo’s creativity is gendered as masculine emphasizing mastership and detail of the body. Maybe that’s why we see this birth, because Tician conceived his work as giving birth to a picture
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Artist: Titian Title: Flaying of Marysus Date:1570-71 Medium: Oil on Canvas
Extravagantly based on the surface – it’s all right up in your face, same sensuality, an even more intense sadism than The Rape of Europa. Marysus is flat like the picture, hung up like the picture and the others seem to be representing painting him. The true self portrait is the old man
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Artist: Tintorello Title: Finding of the Body of St. Mark Date: 1562 Material: Oil on canvas History: Commissioned by Tommaso Rangone for the Scuolo Grande di San Marco in Venice Rushing perspectival difference emphasized by tow things above and beyond the octagonals: dramatic stop gesture of St. Mark over the vanishing point, which in hte god-like gesture seems to form a world and the lighted trap foor. Its not perspective for perspectives sake it's that humans can create depth and space |
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Artist: Tintoretto Title: Removal of the Body of Saint Mark Date: 1562 Material: Oil on canvas Hints at Counter Reformation power of religion. Super highway rush yields a spiritual ecstasy
Ravishment of the scene and the Christian quality brought about by the extreme foregroundedness with a rush into space, has the effect of being a sort of spacialized swoon, a disorientation
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Artist: Tintoretto Title: Last Supper Date: 1592 Material: Oil on canvas Location: San Giorgio Maggiore
Relevance: Rush into perspectival depth – last suppers are almost always frontally shown. Counter-Reformation: World we live in versus the glowing world of light. Table represents the spirituality the ecstasy of faith visually delivered. Engages with viewers to impart the Catholic Church’s belief in the didactic nature of religious art. Mannerist-like: An imbalanced composition and visual complexity
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Artist: Caravaggio Title: Supper at Emmaus Date: 1601 Material: Oil on Canvas Chiaroscuro (lighting) – not just illustrating, but intensifying the story. Famously, the apostle on the right’s left hand seems to puncture the picture. Reaction of the apostles almost cueing our own. Emphasizing fundamental tenants of Catholicism in the Eucharist (food literally falling off the table). Jesus' puffy face as giving it an earthly and almost sacriligeous feel.
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Artist: Caravaggio Title: Doubting Thomas Date: 1602-03 Material Oil on Canvas Premium gesture in imagining how art can pierce viewers and convince – an utterly uncanny eruption of the real. Opposite to the “don’t touch me” of Mary Magdalene – this is the most visceral of the depictions. Cross shaped figures. |
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Artist: Caravaggio Title: Boy Bitten by a Lizard Date: 1596-1597 Material: Oil on Canvas Michael Fried: disguised self-portrait – he wasn’t that rich. The right hand of the boy and the left hand of the artist is the palette hand – its haunted by Caravaggio’s stance holding a palette. The Boys left hand (his right) figures the painting hand. If a painting can suspend itself in the immersive moment of its becoming if it can reverse the pain. Caught in this dialectic between becoming and became. Not religious but still focused on the vividness of painting
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Artist: Caravaggio Title: Bacchus Date: 1596-1597 Material: Oil on canvas Dialetic between becomine and became: look to the goblet - is the wine still moving (aka the painting still living) or are the lines on the goblet itself than its an intensified emblem of the twin foces of ongoing movement and frozeness. |
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Artist: Caravaggio Title: David with a Head of Golliath Date:1606-1607 Material: oil on wood Relay between meditative gestures between the face of David (which can be taken as Caravaggio, implying the immersive quality that is painting) and the face of Goliath (which, though dead, is still thinking.)
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Artist: Caravaggio Title: Medusa Date: 1597 Material: Oil on canvas, mounted on wood Shows the moment when Medusa is reflected back on herself, but its also the moment when the head is displayed: Meaning Painting is both of those things: the moment when life is there, but it’s also the display |
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Artist: Caravaggio Title: Salome with the Head of John the Baptist Date: 1609 Medium: Oil on canvas A hand extending out towards us roughly emulating a painters hand, offering up something lifeless but alive somehow, and In the executioner shows that the painter is doing so with a profoundly meditative quality that doesn’t quite end even when the process is completed. John’s downcast eyes are still meditative Salome’s eyes turn away in revulsion, but also in the way that a finished painting is paradoxically something we don’t want to look at because its finished
The real question he wonders about: What happens when it’s done?
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Definition
Artist: Caravaggio Title: David with the Head of Goliath Date: 1606/07 Medium: Oil on wood |
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