over his shoulder
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    [1508]

    In keeping with intellectual approach Poussin correct consider Caravaggio disaster to painting. Picture lid of Poussin painting would never spring open in face of beholder. Poussin posing guarantor and guard in front of his private picture vaults in Self Portrait from 1650.

    [1509]

    Caravaggio new disposition of means emerged with Decapitation in Valletta. Enlarged canvas to extent framing edges no longer compressed setting of scene preserving drama but cushioned and absorbed in stillness as apart from Cerasi and Contarelli retaining much of closeup sumptuousity of his early gallery pieces. By Valletta decapitation and the Burial of Sta Lucia, backed off from scene of himself for valid judgement. Sorrow of farewell built into vague space.

    [1510]

    Both prior to Caravaggio and after, Roman Church favored art celebrating shine of light. Late Caravaggios not exactly lighthouse help navigation.

  • [1511]

    Background obscurity some of his paintings never indefinite depth. Dark trunk of tree or wall preventing notion of infinity sneak in. No openings towards distant skies and horizons glimpsed beyond knocked down walls or liftoff roofs.

    [1512]

    Camera obscura quality of Caravaggio late paintings obvious to anyone seen faded image of camera obscura from inside same. Bleak yet compellingly vivid without brilliance lasting in darkroom experience up to late 1900s. Loneliness of his studio experience enlarged but preserved in Oratory of the Knights. Camera obscura dark walled space of picture.

    [1513]

    In camera obscura of his devastated life Caravaggio look back boyhood self watch his own lamentable future self with disgust tainted pinch, no more, of compassion.

    [1514]

    Caravaggio experiment with sunlight mirrored into studio later explored ghostly or dim space such as experienced in cavernous spaces of Greek and Roman remains in Syracuse. Dionysos Ear.

    [1515]

    Canaletto contrary to Caravaggio used camera obscura to get perspective right and not for exploring quality of subdued camera obscura light.

    [1516]

    Caravaggio and Vermeer started from illumination afforded by camera-of-interior invite light more or less generously. Darkroom experience of classical photography retain much same process of illumination in dual form of house-of-camera proper and darkroom operation. No given space-of-illumination accompany digital camera which is no camera at all, nor is photoshopping a darkroom operation. Lightbox does not dispose mind for immersion to same degree at least.

    [1517]

    In chiaroscuro of camera obscura none of continuity characteristic of Affinitas, of belonging ad infinitum from here to horizon of detection so dear to Flemish art. Gary Hill video installations such as Tall Ships connect Caravaggio camera obscura intimate space with distance of living in the open as on sea defining quality of Affinitas. As in van Eyck Adoration of the Lamb and all way to Rembrandt Jewish Bride...

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