{"title":"卡拉瓦乔《琵琶手》中的技巧与现实","authors":"T. Thomas","doi":"10.1086/716330","DOIUrl":null,"url":null,"abstract":"In agreement that Caravaggio (1571–1610) slowly gainedmastery of space, light, and anatomy during the 1590s, scholars have analyzed his methods of pictorial formation, including his spatial anomalies and inaccuracies. Nevertheless, widely divergent accounts have been written about his approach to compositional construction. Mina Gregori saw in Caravaggio’s Lute Player (fig. 1) an advance in spatial coherence beyond his earlier works. She noted his “interest in perspective manifest in” this painting. Calling the work “perspectivally [. . .] refined,” she","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.2000,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Artifice and Reality in Caravaggio’s Lute Player\",\"authors\":\"T. Thomas\",\"doi\":\"10.1086/716330\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"In agreement that Caravaggio (1571–1610) slowly gainedmastery of space, light, and anatomy during the 1590s, scholars have analyzed his methods of pictorial formation, including his spatial anomalies and inaccuracies. Nevertheless, widely divergent accounts have been written about his approach to compositional construction. Mina Gregori saw in Caravaggio’s Lute Player (fig. 1) an advance in spatial coherence beyond his earlier works. She noted his “interest in perspective manifest in” this painting. Calling the work “perspectivally [. . .] refined,” she\",\"PeriodicalId\":43235,\"journal\":{\"name\":\"SOURCE-NOTES IN THE HISTORY OF ART\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2021-06-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"SOURCE-NOTES IN THE HISTORY OF ART\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1086/716330\",\"RegionNum\":3,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ART\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"SOURCE-NOTES IN THE HISTORY OF ART","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1086/716330","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
In agreement that Caravaggio (1571–1610) slowly gainedmastery of space, light, and anatomy during the 1590s, scholars have analyzed his methods of pictorial formation, including his spatial anomalies and inaccuracies. Nevertheless, widely divergent accounts have been written about his approach to compositional construction. Mina Gregori saw in Caravaggio’s Lute Player (fig. 1) an advance in spatial coherence beyond his earlier works. She noted his “interest in perspective manifest in” this painting. Calling the work “perspectivally [. . .] refined,” she
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