Caravaggio the musicians instrument
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1Berne-Joffroy’s book, published in 1959 by Les Editions de Minuit, is one of the handful of important books on art history written in French. The originality of the method, the scope of the theoretical issues raised, and the critic’s style guaranteed it a readership well beyond the circle of specialists who make up the actual object of the Dossier. At that time, Caravaggio represented the supreme figure of an overlooked, scorned artist, in the process of being brought back to life, highlighted at the Milan exhibition, in 1951, and a series of writings, those of Longhi in particular, covering half a century of discussion. A trained literary critic who organized the 1969 Mondrian exhibition, with a profound and nimble mind and wit, the author had the extremely bright idea of adopting a viewpoint that consisted in observing a creative process by regarding it not as an accumulation of positive elements, the sum of which would give a state of the issue—a customary art historical practice—but rather as what he calls a “stirring of ideas”.
2Without trying to overlap with th
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The Musicians
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Title:The Musicians
Artist:Caravaggio (Michelangelo Merisi) (Italian, Milan or Caravaggio 1571–1610 Porto Ercole)
Date:1597
Medium:Oil on canvas
Dimensions:36 1/4 x 46 5/8 in. (92.1 x 118.4 cm)
Classification:Paintings
Credit Line:Rogers Fund, 1952
Object Number:52.81
The Artist: Trained in Milan and active in Rome (1592/95–1606), Naples (1606–7; 1609–10), Malta (1607–8), and Sicily (1608–9), Caravaggio was one of the most revolutionary figures of European art. His practice of painting directly from posed models violated the idealizing premise of Renaissance theory and promoted a new relationship between painting and viewer by breaking down the conventions that maintained painting as a plausible fiction rather than an extension of everyday experience. Although his career spans little more than fifteen years, the transformation from his earliest works, in which a realist impulse is tempered by delicacy of description, and his late, dark style—at once dramatic in e
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CARAVAGGIO: PERCEPTION SHIFTS THROUGH SELECTED TWENTIETH– and TWENTY-FIRST CENTURY MUSEUM EXHIBITIONS
The groundbreaking 1951 exhibition, Mostra del Caravaggio e dei
Caravaggeschi, which brought Caravaggio back into the limelight of both scholarly and public interest, provides a starting point for the thesis. 1 This landmark exhibition revived public and scholarly interest after more than three hundred years of disregard for the Lombard artist; it amassed the largest group of Caravaggio works under one roof for the 1 Palazzo Reale di Milano and Roberto Longhi, Mostra del Caravaggio e dei Caravaggeschi;catalogo, aprile-giugno, 1951, Palazzo reale (Milan, Italy: Sansoni, 1951).
ix first time ever. The restored enthusiasm for Caravaggio in the second-half of the twentieth century (greatly a result of this exhibition) also focused on his personal life due to the publication and translation by Walter Friedlaender of Lives written by his seventeenth-century biographers-Giulio Mancini, Giovanni Baglione, and Giovanni Pietro Bellori-as well as the publication of documents and court rec
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