Wednesday, September 16, 2015

Followers of Caravaggio in the Pushkin Museum showed how children of Lieutenant Schmidt – Independent Newspaper

A Caravaggio – the best! Photo by the author

 

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, co-production applications like, sometimes 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. Chubby black-haired, 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 tries to “himself” to repeat the gesture, “try.” In the 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.

  
 

Caravaggio enjoys maestriynostyu his letter that if it does not cost anything to pass all sorts of nuances and even the reflection of a window or door in the glass vase with flowers. But a “snapshot” he nevertheless does still frozen in time allegory, which, however, are treated differently. Some write that tomboy with a bare shoulder and a flower behind his ear came from marginalized baseman Roman society and the picture – the personification of pain associated with love. Others see here the metaphor of fleeting youth and suffering from unrequited love. If the boy’s ear rose (it seems that yes, but it is difficult to understand exactly), because it was, in particular, an attribute of Venus, fragrant flower spikes. Cherry, which revolves around a lizard – but already among the religious character was considered a heavenly fruit, and the reward for virtue. A lizard is associated with one of the Seven Liberal Arts – logic. Whatever it was, apparently, and not to try the berries boy wonder as well. (By the way, the second such stores in the London National Gallery.) From this one work would come out a separate exhibition (her and presented on the eve of the Italian Embassy – traditionally predpokazov one picture) once again reminded to the glorious master, who lived bright, and absurdly short. But in its present show there is not a curtain, and a starting point.


  
 

«followers» Italian here – not just fellow countrymen (Orazio Bordzhanni), but even Spaniards (Husepe Ribera), the French (Valentin de Boulogne) and the Dutch (Dirck van Baburen, all of the – of the number of recognized karavadzhistov, but many here other painters). Only now, having appeared in the title of the exhibition, not all the “followers” karavadzhistskuyu fit into the line, and now and then strive to scatter exhibition design as a house of cards. If the good, then the easiest bunch – a copy of the XVII century with paintings of Caravaggio’s “Boy, cleansing fruit”. But it starts the show at all with the older contemporary of Caravaggio – Bartolomeo Passerotti as he in his “vendor bird”, “anticipated the naturalism of Caravaggio” … Hosts (Chief Scientific Officer of the Pushkin Museum Victoria Markova, Mina Gregori and Maria Cristina Bandera – respectively the president and scientific director of the Longhi ) pull at the fair just a lot of lines, which, it seems, “break” it in different directions. It is Russia’s first fashion show Florence fund and at the same time a tribute to the famous scholar Roberto Longhi, Caravaggio and many students in many ways, you could say, to rediscover it. It is logical that the exhibition conceived binding to Caravaggio. Only she often is faltering. For example, Pogrebnoy light and rude, actively gesticulating heroes Valentin de Boulogne of the two versions of “Renunciation of St. Peter” and “Lamentation of Christ” one of the first karavadzhistov Orazio Bordzhanni also a dramatic contrast lighting innovator develop an Italian style. But no matter how one considers the bright, quiet “Madonna and Child with young Saint John the Baptist” academics Guido Reni and a huge altar composition Giovanni Baglione “Appearance of an angel to St. Joseph,” also made almost pastel shades, too, with quiet, smooth gestures and chubby angels in wool cloud, return them to the Caravaggio – if the basis of a style – seems irresistible curve. And why here rocaille-school gallant scenes Gaspare Traversi – because he was “a painter of reality”, as this term is introduced Longhi? There are many questions.


  
 

Finally, if it does not entirely imported project (Ministry of Culture advised museums in terms of budget cuts to rely on their funds), and the co-production, making for communal divide the space between the Florentine collection and Moscow? Now, because you can reunite and beautiful karavadzhistskuyu series “Apostles” Husepe Ribera, and work a few artists that are stored in the two countries. The results of the exhibition narrative jumps and confused. Double title with “followers” interfere if you just wanted to show the painting of two distinguished collections. And so – yes, the boy Caravaggio’s still in charge. Bitten and is entitled.

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