Caravaggio. Félix Witting

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

      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, op.cit., ch.1.

25

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

26

Baglione, op.cit., ch.1.

27

Goethe, Traité des couleurs, 1810, Triades, 1996.

28

Baglione, ch.1.

29

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

30

Baglione, Vita di Michelangelo da Caravaggio.

31

Baglione, op.cit., ch.1.

32

Exhibited at Burlington Fine Arts Club, 1894, illustrated catalogue pp.l, VII.

33

In Berlin (Museum III, 76) and Wilton House. – Lomazzo mentions, in his Trattato, 1584, p.439, that mural paintings can be found in several Italian osteria (both indoors and outdoors) with representations of ruffians, drinkers, gamblers in Milan – Compare with N. Bertolotti, Artisti belgi et ollandesi a Roma, Firenze, 1880. – The genre paintings by Dosso Dossi are also mentioned (oval paintings eaters, drinkers and musicians at the gallery in Modena, bambocciata in the Palazzo Pitti (n° 148) in Florence. In Delle Maraviglie dell’arte I, p. 79, Ridolfi talks of Giorgione’s genre paintings on façades (frescos).

34

Waagen, op.cit., II, p. 82.

35

Ibid., I, p. 249.

36

Compare with J. Meyer, Künstlerlexikon.

37

Catalogue n° 227 of the main collection. – Louvre catalogue n° 1122.

38

Capitolinian Collection, catalogue n° 244;

58

See Baglione 1. c.; cf. Mariano Vasi 1. c. p. 5.

59

Buckhardt, op.cit., p. 995.