By Ellis Waterhouse
A vintage research, this serves either scholar and gourmet because the general creation to Italian portray of the seventeenth century - from Caravaggio to Carlo Maratta. This concise and informative survey devotes separate chapters to the traditions and manifestations of Baroque portray. Written by means of Ellis Waterhouse, Baroque pupil and previous Director of the Barber Institute of good Arts on the college of Birmingham, united kingdom.
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18) was painted But more important is for the fact that 18. CARAVAGGIO: The Deposition. Vatican, Gallery Caravaggio his profoundly original religious profound and ness, reflects which is humble and realistic, emotionally contemporaries) embarrassingly lacking in class-conscious- more than The Oratorians. many (to style, 25 that of any other painter the unostentatious piety of the transformation of a style nourished on the realistic representation of the seedier underworld into an instrument for devotional art presented Caravaggio with considerable difficulties — and so did the composition of elaborate groups with an emotional content to a painter who had limited himself to the single figure or the arrangement of figures without narrative cohesion.
I6i6), later 1590's, church under for the Cathedrals of less successful, It is interesting to its were the it new conventions of naturalism and a brilliantly cast naturalistic scene with the is the Galleria Nazionale at in his as intimate and domestic, in the Venetian tradition which was an altarpiece was a good deal is ^^^ without mystery and makes no positive contribution to the content of the age. In his larger altarpieces dell' iMHff » being painted to the innovations of Caravaggio, while being as alien to his style as possible within the ground -;i5jk and gamboge), shows how a picture can owe (cherry, deep blue, lilac possibility of ' J - 28.
But this was very far from the truth. He perhaps started out as a specialist in the painting of still life, and especially of fruit. Studies of single figures followed, but they are clumsier than the fruit which gives them their savour of originality and charm period were either himself or young persons depraved. The Uffizi Bacchus, —for Caravaggio's models who have an air without the saving grace of of being promising but its still life, very disagreeable picture indeed. But he painted at least Basket of Fruit in the Ambrosiana, Milan —in which perfectly clear.