Tag Archive: Caravaggio

Petition Madness in the Art World…SECOND REVISION! More Petitions and a Modest Proposal…

A cruise ship enters the Giudecca. Photo © 2011 Michael Miller.

Since the Mona Lisa affair was reported, other petitions and protests have emerged. Earlier this month (September 17) the protests agains the huge cruise ships that pass through the lagoon in Venice were renewed with vigor. The invaluable Tomaso Montanari has organized a petition against the privatization of the Brera in Milan. At the beginning of the month, in the United States, the New York Times demoted Allan Kozinn, one of its more intelligent music critics, who has been writing for them since 1977 and a staff member since 1991. He is now a “general cultural reporter.” Norman Lebrecht, who announced the bad news, received an avalanche of mostly angry and disgusted comments. Petitions were organized on Facebook, urging the Times to change their mind…but to no avail. Kozinn’s gone. For some years it has been hard to imagine that once upon a time Paul Griffiths wrote music criticism for The New York Times, and both he and Andrew Porter for The New Yorker.

Caravaggio e caravaggeschi a Firenze, the Galleria Palatina at the Palazzo Pitti and the Uffizi (Florence). Closing January 9th

Caravaggio’s power to captivate us today makes us wonder whether he was not four hundred years ahead of his time. This anniversary exhibition, perhaps more than others across Italy, shows that he was not. His genius was readily recognized and tirelessly sought even during his own day, and even by the Grand Dukes of Florence who had every reason to restrict their patronage to the their own well-established Tuscan tradition. So while artists in Florence remained aloof to the emerging naturalism and quotidian predilections of Caravaggio and the Caravaggeschi, their rulers worked assiduously to acquire the master’s Bacchus, Medusa, and Cavadenti within the first two decades of the seventeenth century. Evidently, the Medici even had it in mind to lure Caravaggio to Florence; something they might well have accomplished had not the painter been forced to flee Rome as a wanted murderer. In his stead, the Grand Dukes enjoyed the presence of protégés such as Artemisia Gentileschi, Battistello Caracciolo, and Theodor Rombouts.

Caravaggio throughout Italy: the 400th Anniversary Exhibitions

Museums throughout Italy are hosting exhibits to commemorate the four-hundredth anniversary of the death of Michelangelo Merisi: the so-called “Caravaggio.” The year began in Rome with Caravaggio and Bacon at the Galleria Borghese (http://berkshirereview.net/2010/01/caravaggio-e-bacon-galleria-borghese-rome/) and the slightly less contrived, but equally imaginative, “Caravaggio-Lotto-Ribera” at the Musei Civici agli Eremitani in Padova. Naples spread six thematically related exhibits throughout the city to highlight the connections between Caravaggio and late-Baroque Neapolitan masters like Luigi Vanvitelli and Ferdinando Fuga (Ritorno al Barocco, da Caravaggio a Vanvitelli). The Palatina Gallery in Florence is featuring Caravaggio e Caravaggeschi until October 10th, after which several of those works will move to Rimini for Caravaggio e altri pittori del XVII secolo. Perhaps most notable was an exhibit that recently closed at the Scuderie del Quirinale in Rome. Conceived by Claudio Strinati and organized by Rossella Vodret and Francesco Buranelli, it featured a unique collection of Caravaggio’s most famous works collected from museums worldwide. A record 4,000 visitors thronged to see these masterpieces on opening day, well exceeding the 2,500 printed tickets.

Caravaggio e Bacon, Galleria Borghese (Rome) until January 24th

Master portraitist Gwenneth Barth describes the realist painter as one always treading a tightrope between two worlds—the conscious mind and its perception of reality—adding: “But are these really different worlds?” This is precisely the question provoked by a highly unique exhibit bringing together thirty masterworks of Caravaggio (1571 – 1610) and Francis Bacon (1909 – 1992) displayed in nine salons at Rome’s Borghese Gallery. The organizers assert that the aim is neither to connect these two figures historically nor to compare them according to generally accepted standards of criticism, but rather to give the viewer an extraordinary “aesthetic experience” on the occasion of the fourth centennial of Caravaggio’s death and the first of Bacon’s birth. Be that as it may, even those wishing merely to gawk at the spellbinding canvases of two of art’s most famous bad boys will leave pondering the relation between the conscious mind and its perception of reality.

A tip for our readers: How to get the most out of New York Arts and The Berkshire Review for the Arts.
What if I hate reading on computer screens, even tablets?
We get occasional inquiries from readers about whether we plan to launch a print edition of our arts journals. The answer is that we've given it some thought, and we're still thinking about it.
It is not only our older readers who object to reading them online. There are even some millennials who would rather read from paper. One of our readers got the simple idea of using the sites as sophisticated tables of contents. She prints out each article on three-hole paper and files them in a loose-leaf album. I've devoted a lot of time to finding the very best print and pdf facility there is. Just click on one of the icons at the top right of the article and print!
Click here to make your tax-deductible donation to The Arts Press, publisher of New York Arts and The Berkshire Review. Or click on the notice in the sidebar. The Arts Press is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the charitable purposes of The Arts Press must be made payable to“Fractured Atlas” only and are tax-deductible to the extent permitted by law.