The Pushkin Museum opened an exhibition “Caravaggio and followers” – more than 50 works from the Florentine Longhi Foundation and the meeting of the museum itself. Caravaggio exhibition is represented by one canvas – an early “Boy bitten by a lizard.” Says Valentin Dyakonov.
The exhibition “Caravaggio and followers. Pictures from the collections of the Foundation Roberto Longhi in Florence, and the Pushkin Museum. AS Pushkin “Volkhonka was referred to as an extension of the show of Caravaggio, who became at the turn of 2011-2012, one of the hits of the Pushkin. Then the 11 paintings by the innovator of a crooked painting three months looked 235 thousand. Viewers. Now Caravaggio – in the singular, there is still a copy of it, and about fifty other paintings. And all would do, but Manco “followers” from the title mingled with the crowd of those in Karavadzhizm difficult to suspect.
The exhibition, statements as a co-production sometimes seems like a pardon, communal. But the main thing here, of course, “Boy bitten by a lizard” Caravaggio. He was amazing and a face on a separate cubicle very freely – not that densely hung around as to pay homage to him who came to work at the obvious and not obvious followers. Black-haired chubby handsome, distinctive type of works by Caravaggio, curled mine, spread his fingers (underneath – the culprit of his suffering) and with such an infectious expression shrugged that unwittingly trying “to himself” this gesture repeated, «try».
In 1590s, he moved from Milan to Rome respected, the young artist made a stop-frame – she is now biting it, we – on the site of “crimes”. And the arsenal of techniques Caravaggio – with bitten – evident. Here and contrasting directed top and side light, which dynamized the stage already by the fact that half his face brightly lit and the other half – in the shadows, and that the very arched shoulder is like a searchlight, and the second “drowning” in the Cellars darkness. Here and in the naturalism of the image, almost physically feel and twisted his face zhovialnoy model (Caravaggio reproached when he did the Saints showed Aki farmers, regardless of the canonically accepted nobility faces), and that, looking first at the tender skin of the notorious bitten hands will soon notice the dirty fingernails of street boys.
– The exposition shows that the influence of the master goes beyond the boundaries of a narrow circle of direct followers – says the curator of the project and a leading expert in the field of Italian paintings Victoria Markova. – But it is not restricted in time. For example, a known method for such artist as monumental figures, often resorted Baroque painter Carlo Saraceni. Italian Angelo Carosello constantly used spectacular lighting. A Orazio Bordzhanni fond of depicting naturalistic details. “Lamentation of Christ” by Andrea Mantegna – a vivid example of all connection with the prospects of Renaissance chiaroscuro effects karavadzhizma. We presented a rare opportunity to see a number of works from the two collections – the private museum of Russian and Italian. This will allow viewers to reflect on the ways of development of art.
The art critic Roberto Longhi collector interested in the work of Caravaggio in his student years, he wrote a diploma on the subject. Later, he began to acquire valuable paintings of the master and his followers. Today his collection includes around 200 paintings painting XIV-XX centuries. And the result of his undying interest in the work of the Lombard painter and his followers became the first exhibition Caravaggio and karavadzhistov in Milan and two editions of the monograph of genius.