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Truly a distinguished achievement, this book is required reading
for general readers as well as specialists in the history of art
(Charles Dempsey, The Johns Hopkins University)A very important
part of Caravaggio's production consists of pictorial narratives,
mostly religious. Thus, according to early modern aesthetics,
Caravaggio practiced the artistic genre of the istoria: the most
discussed and thoroughly defined pictorial institution of his time.
Unanimously, seventeenth-century artists and art theorists censored
and condemned Caravaggio's art for its numerous deficiencies and
faults in regard to the principles of the istoria. In spite of all
these testimonies, Caravaggio's innovations in and misuses of the
techniques specific to early modern pictorial narrative have never
been systematically studied, debated, and put into historical
perspective. In this volume, Lorenzo Pericolo argues that
Caravaggio's multiple experimentations with the traditional devices
of the istoria not only represent the core of an unprecedented
poetics of dislocation, but also unsettled, dismantled, and
expanded the scope of pictorial narrative in ways that would have
redefined and deeply transformed the concept of painting and
artistic creation, had Caravaggio's enterprise not have been
ferociously criticized and stigmatized as both aberrant and
defective. To solidly establish the importance and groundbreaking
charge of Caravaggio's work, Pericolo examines the notion of Leon
Battista Alberti's istoria as interpreted and developed by early
modern artists and theorists-from Leonardo to Vasari, from Lomazzo
to Poussin, and from Michelangelo to Bellori-in vast surveys in
which the concepts of diachrony, duration, eurythmy, propriety,
verisimilitude, and pictorial truth- among others-are carefully
examined on a theoretical and practical level. By analyzing the
paintings of Caravaggio's followers such as Cecco del Caravaggio,
Battistello Caracciolo, Valentin de Boulogne and, not least, Diego
Velazquez, Pericolo explores how Caravaggio's innovations in the
domain of pictorial narrative were variously construed, elaborated
upon, and brought to fruition in the aftermath of the master's
death in 1610, thereby offering a critical explanation of the
implosion and extinction of the Caravaggesque movement in the
1630s.
Carlo Cesare Malvasia's account of Bolognese painters and painting,
'Felsina Pittrice' (Bologna, 1678), is one of the most important
sources for the history and criticism of painting in Italy. This
volume provides a critical edition and annotated translation of the
first part of Malvasia's work, which focuses on the art of late
medieval Bologna.
Richly illustrated, this critical edition and English translation
of Malvasia's lives of Domenichino and Francesco Gessi from his
Felsina pittrice offer access to the life and work of two great
masters of seventeenth-century Bologna. Domenichino's life plays a
seminal role in Malvasia's definition of the fourth age of painting
in Italy. From the very beginning, Malvasia pits against each other
Guido Reni and Domenichino, the two champions of the vanguard style
that emerged from the Carracci reform of painting. If Guido becomes
the idol of the Lombard and Bolognese school, more attuned to
tenderness and audacity, Domenichino embodies an ideal of
perfection more in keeping with the Florentine and Roman school,
fond of finish and diligence.
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