Dark Caravaggism

IF 0.1 0 MEDIEVAL & RENAISSANCE STUDIES
L. Ch’ien
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引用次数: 0

Abstract

Many of Caravaggio’s late istoria altarpieces differ from what is commonly called Caravaggism (the artist’s pictorial mode during his Roman period) strongly enough that together the paintings form a distinctive approach to istoria that requires its own term: Dark Caravaggism. This paper identifies and analyzes this second Caravaggism, a pictorial mode as innovative as the first, but one that has been neglected in the literature. In the Resurrection of Lazarus, Burial of St. Lucy, and other works including the Death of the Virgin and Beheading of St. John, Caravaggio extends narrative moments in even muted palettes, stilled movement, and cavernous spaces. These paintings command the viewer’s attention by employing the eye’s physiological process of dark adaption in which the eye adjusts over time to dim light conditions. Eschewing Early Caravaggism’s instantaneity and fragmented tenebrism, Dark Caravaggism asks the viewer for quiet meditation rather than frantic search. If not for the artist’s untimely death at age 38, late Caravaggism likely would have produced a second revolution in European painting on par with the first.
深色卡拉瓦吉主义
卡拉瓦乔晚期的许多历史祭坛画与通常所说的卡拉瓦吉主义(艺术家在罗马时期的绘画模式)有着强烈的不同,这些绘画结合在一起形成了一种独特的历史方法,需要有自己的术语:黑暗卡拉瓦吉斯主义。本文对第二卡拉瓦吉主义进行了识别和分析,这是一种与第一卡拉瓦吉一样具有创新性但在文学中被忽视的绘画模式。在《拉撒路的复活》、《圣露西的埋葬》和其他作品中,包括《圣母之死》和《圣约翰的斩首》,卡拉瓦乔甚至在无声的调色板、静止的动作和洞穴般的空间中扩展了叙事时刻。这些画通过利用眼睛适应黑暗的生理过程来吸引观众的注意力,在这个过程中,眼睛会随着时间的推移适应昏暗的光线。避开了早期卡拉瓦吉主义的即时性和支离破碎的tenebrism,《黑暗卡拉瓦吉》要求观众安静地冥想,而不是疯狂地寻找。如果不是这位艺术家在38岁时英年早逝,晚期卡拉瓦吉主义很可能会在欧洲绘画中产生与第一次革命不相上下的第二次革命。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Explorations in Renaissance Culture
Explorations in Renaissance Culture MEDIEVAL & RENAISSANCE STUDIES-
CiteScore
0.20
自引率
0.00%
发文量
11
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