By Andrew Graham-Dixon
“This ebook resees its topic with infrequent readability and tool as a painter for the twenty first century.”—Hilary Spurling, New York occasions ebook Review
In a bravura functionality, Andrew Graham-Dixon explores Caravaggio’s outstanding inventive achievements, delving into the unique Italian resources to create a masterful profile of the mercurial painter. This New York Times and Washington Post striking booklet of the yr gains greater than 80 full-color reproductions of the artist’s top work.
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Extra resources for Caravaggio: A Life Sacred and Profane
The window frame makes landscape an identifiable object, an object of intention that is circumscribed by consciousness, and this object is transferable to different contexts (writing, painting, contemplation, discussion). The birth of landscape painting is ushered in through the window, literally, in the sense that pictures in this period painted a landscape as a window view. Yet, the window frame resembles a painting and is therefore its double, a kind of visual metonym, and so, by extension, the painting of a window and its view is a frame inside a frame.
Similarly, the cinematography of a recent film, The Number 23 (2007) directed by Joel Schumacher, wants us to believe that we are inside someone’s head as they read a book, and we travel with the reader, who is visualising the author’s memories (appropriately shown through a number of windows) that mimic the ‘window’ of the camera lens and the cinema screen. The writer’s mental images are visualised by the depicted reader, and represented by a series of cinematic images or flashbacks, these imitation ‘mental’ images which we ‘share’, are shown through a number of frames-in-frames and windows in windows, in order to enhance the feeling of travel through different thoughts.
So after considering everything very thoroughly, I must finally conclude that this proposition, I am, I exist, is necessarily true whenever it is put forward by me or conceived in my mind” (Adam and Tannery: 1904: 25). The painting that questions reality also questions this proposition and allows it to be “put forward” in the mind. 13 For a discussion of the interchangeability in certain kinds of consciousness between “I think” “I see” “I am”, see Shapiro 2003: 50-51. 46 Framing Consciousness in Art a kind of mirror interrogation of picture consciousness.