Michelangelo da Caravaggio. Félix Witting

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 17th-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 that can be seen in the Cesari chapel (The Conversion of Saint Paul), 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.

      Примечания

      1

      Baglione, G. & Battista Passari, G. (1733). Vite de’ pittori, scultori, architetti. (p. 129). Naples, Italy.

      2

      Di Bassano, V. G. (1768). Raccolta di lettere sulla pittura etc., (Vol. VI, p. 249). Rome, Italy.

      3

      Baglione, G., op.cit., (ch. 1).

      4

      Giulio Cesare Gigli cited by Meyer, J., Ed. (1872). Allgemeines künstler-lexikon. Vol. I. Leipzig, Germany: W. Engelmann.

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Примечания

1

Baglione, G. & Battista Passari, G. (1733). Vite de’ pittori, scultori, architetti. (p. 129). Naples, Italy.

2

Di Bassano, V. G. (1768). Raccolta di lettere sulla pittura etc., (Vol. VI, p. 249). Rome, Italy.

3

Baglione, G., op.cit., (ch. 1).

4

Giulio Cesare Gigli cited by Meyer, J., Ed. (1872). Allgemeines künstler-lexikon. Vol. I. Leipzig, Germany: W. Engelmann.

5

Di Bassano, V. G. op.cit., (Vol. VI, p. 315).

6

Schopenhauer, A. Die Welt als Wille und Vorstellung, additional information to Book III. (ch. 36).

7

Waagen, G. F. (1838). Kunstwerke und Künstler in England (Vol. I, pp. 249, 462, 499; Vol. II, pp. 82, 485). Berlin, Germany.

8

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

9

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

10

Dohme, R. (1878–1879). Kunst und Künstler II, (part 3). Leipzig, Germany: E. A. Seemann.

11

Woltmann, A. & Woermann, K. (1858) 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

Burckhardt, J. (1855). Das Cicerone, (1st ed.).

13

Harden, M. (1902, January) Zukunft.

14

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

15

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

16

Ibid.

17

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

18

To be compared with Thode, H. (1901). Tintoretto. Bielefeld and Leipsig.

19

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

20

Baglione, G. op.cit., (ch. 1).

21

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

22

Bode, W. op.cit., (p. 952).

23

Baglione, G. op.cit., (ch. 1).

24

Baglione, G. op.cit., (ch. 1).

25

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

26

Baglione, G. op.cit., (ch. 1).

27

Goethe, J. W. (1996). Traité des couleurs. Paris, France: Triades.

28

Baglione, G. op.cit., (ch. 1).

29

Meyer, J. op.cit., (p. 623).

30

Baglione, G. (1642). Vita di Michelangelo da Caravaggio. Rome, Italy.

31

Baglione, G. op.cit., (ch. 1).

32

Exhibited at Burlington Fine Arts Club, 1894, illustrated catalogue (VII, p. 1).

33

In Berlin (Museum III, 76) and Wilton

57

Vasi, M. (1818) A new picture of Rome, and its environs, in the form of an itinerary. (ch. 1. c; p. 4). The two small decorative pieces in the Kestnermuseum in Hanover (n° 61, 62) were probably made in collaboration with Prosperino.

58

See Baglione, G. (ch.1. c); also Vasi, M. op.cit., (ch. 1. c; p. 5).

59

Buckhardt, J. op.cit., (p. 995).