Caravaggio. Félix Witting

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СКАЧАТЬ href="#n_56" type="note">[56] but for them it was more a fancy for modelling the muscular physique than for the power of psychological expression. Here, the tone of the scene is reminiscent of the style of Caravaggio’s bambocciate, as the artist knew them. The painting depicts a group in a tavern, where the wine has clearly been flowing. Yet in other parts of the painting there is such nobility, a transcendence that shines through despite its material slant, and due solely to these shimmering, profane and supernatural creatures the piece has a special charm. The tavern’s landlord, who himself appears in the scene, gives a sense of reality to this image of the miraculous. At the same time, the colouring is so intense that for this reason alone it should be recognised as one of the most balanced and enticing works produced by Caravaggio, who otherwise favoured dark tones. The picture trade, based on fast production, which he had run together with Prosperino delle Grottesche shortly before, seems to have been of such importance to him that he had guaranteed a certain freshness of invention.[57]

      The Supper at Emmaus is significant for the distance the painter allows himself to go: in the representation of Jesus appearing to the two disciples, Caravaggio chooses to humorously represent an innkeeper wearing his hat accompanied by a waitress, both of whom are dressed in seventeenth-century attire. This technique, which gives the scene a certain shift in time, had already been used by the painter in his first painting of Mary Magdalene. For the painting The Conversion of Saint Paul that one can see in the Cesari chapel, Caravaggio, ignoring the celestial vision, prefers to anchor the scene in the material reality of a horse-riding accident which symbolises the shock experienced by the apostle. Caravaggio, who in the paintings of Saint Matthew in the chapel in San Luigi dei Francesi had already tried to revolutionise and renew the fundamental laws of painting, outdid this monument to his recently-discovered style in an even more magnificent way in the paintings he carried out for the Cerasi for their chapel in Santa Maria del Popolo in Rome. On the right-hand wall of the chapel to the left of the nave, directly next to the choir,[58] is The Conversion of Saint Paul, and on the left-hand wall The Crucifixion of Saint Peter. J. Burckhardt’s judgement of the works, in which his dislike of Caravaggio is clearly expressed, remains exaggerated and restricts access to the understanding of an important moment in the Baroque.[59] His reproach concerning the horse, from which the apostle has slid following his vision, which almost completely fills the picture on its own, seems unjustified given the mastery of the application of the paint in the forms and colours. On the contrary, it is the contrast between the struck-down animal and the divine messenger who is standing in the background which renders the impact even more significant. From a purely artistic point of view, this pushing of enormous corporeal masses into the foreground marks the point at which painting left its previous tendencies behind.

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      Примечания

      1

      Giovanni Baglione, Vite de’ pittori, scultori, architetti. Dal 1572–1642, Napoli, 1733, p. 129ff.

      2

      Vincenzio Giustiniani di Bassano, Raccolta di lettere sulla pittura etc., Roma, 1768, t. VI, p. 249.

      3

      Baglione, op.cit., ch.1.

      4

      Giulio Cesare Gigli cited by J. Meyer, Künstlerlexikon I.

      5

      Vincenzio Giustiniani di Bassano, op

Примечания

1

Giovanni Baglione, Vite de’ pittori, scultori, architetti. Dal 1572–1642, Napoli, 1733, p. 129ff.

2

Vincenzio Giustiniani di Bassano, Raccolta di lettere sulla pittura etc., Roma, 1768, t. VI, p. 249.

3

Baglione, op.cit., ch.1.

4

Giulio Cesare Gigli cited by J. Meyer, Künstlerlexikon I.

5

Vincenzio Giustiniani di Bassano, op.cit., t. VI, p. 315.

6

Arthur Schopenhauer, Die Welt als Wille und Vorstellung, Ergänzungen zum 3. Buch, ch. 36.

7

Waagen, Kunstwerke und Künstler in England, Berlin, 1838, I, p. 249, 462, 499; II, pp. 82, 485.

8

M. Unger, Kritische Forschungen auf dem Gebiete der Malerei, Leipzig, 1865, pp. 159–178.

9

J. Meyer, Künstlerlexikon I, pp. 613–623.

10

A. Dohme, Kunst und Künstler II, t. 3.

11

Woltmann et Woermann, Geschichte der Malerei III. To be compared with Repertorium für Kunstwissenschaft, Janitschek III, p. 144, VIII, p. 86, IX, p. 72, XIII, p. 144.

12

J. Burckhardt, Das Cicerone, first edition 1855, republished 1909.

13

M. Harden, Zukunft, 1902, January.

14

To be compared with J. Burckhardt, op.cit.

15

J. Burckhardt, op.cit., p. 7

16

Ibid.

17

Unger, A Kritische Forschungen auf dem Gebiete der Malerei, 1865, p. 56.

18

To be compared with H. Thode, Tintoretto.

19

J. Burckhardt, op.cit., p. 3.

20

Baglione, op.cit., ch.1

21

To be compared with J. Burckhardt, op.cit., p. 914; W. Bode, Giorgione nahestehende Gemälde im Herzoglichen Museum zu Braunschweig in Quellen und Forschungen zur Braunschweiger Geschichte VI, 1914, p. 253.

22

Bode, op.cit., p. 952ff.

23

Baglione, op.cit., ch.1.

24

Baglione, СКАЧАТЬ