Caravaggio zugeschrieben / attributed
Wahrsagerin / Handleserin - Fortune Teller - Buona ventura
Pinacoteca Capitolina, Roma
The youth abandons his reserve, leans over towards the gypsy-woman and looks into her smiling face, as if he idolized her, and as if the woman was enticing a very willing man. We cannot be absolutely sure this picture is an original Caravaggio. Its authenticity has recently been based on two arguments. The genre-scene has been painted over a praying female saint, perhaps the Virgin Mary, and the most likely painter is the Cavaliere d'Arpino. The painting also carries the same indication of provenance from Cardinal del Monte's Collection as the Cardsharps. The same subject-matter recurs in Narcissus. In the case of this not-undisputed picture, the smooth way in which the paint is applied suggests a Caravaggesque artist of some note.
Source:Web Gallery of Art
Tags: Caravaggio Die Wahrsagerin Die Handleserin The Fortune Teller Buona Ventura Pinacoteca Capitolina Rom Rome Roma
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Caravaggio (Michelangelo Merisi da Caravaggio), Mailand 1571? - Porto Ercole 1610
Abendmahl in Emmaus - Supper at Emmaus - Cena in Emmaus (1602)
National Gallery, London
Two of Jesus' disciples were walking to Emmaus after the Crucifixion when the resurrected Jesus himself drew near and went with them, but they did not recognise him. At supper that evening in Emmaus '... he took bread, and blessed it, and brake and gave to them. And their eyes were opened, and they knew him; and he vanished out of their sight' (Luke 24: 30-31). Christ is shown at the moment of blessing the bread and revealing his true identity to the two disciples.
Caravaggio's innovative treatment of the subject makes this one of his most powerful works. The depiction of Christ is unusual in that he is beardless and great emphasis is given to the still life on the table. The intensity of the emotions of Christ's disciples is conveyed by their gestures and expression. The viewer too is made to feel a participant in the event.
The picture was commissioned by the Roman nobleman Ciriaco Mattei in 1601. Caravaggio painted a second, more subdued version of 'The Supper at Emmaus' about five years after the Gallery's work.
Source: National Gallery, London
Tags: Caravaggio Abendmahl in Emmaus Supper at Emmaus Cena in Emmaus National Gallery London
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Caravaggio (Michelangelo Merisi da Caravaggio), Mailand 1571? - Porto Ercole 1610
Amor als Sieger / Amor victorious / Amore Vittorioso
Gemäldegalerie Berlin
Amor Vincit Omnia (Love Conquers All) is known in English by a variety of names including Amor Victorious, Victorious Cupid, Love Triumphant, Love Victorious or Earthly Love.
This painting was always considered one of Caravaggio's great masterpieces. He painted it for Marchese Giustiniani. The figure sets up a direct, special and privileged relationship with the viewer, with an immediate appeal that is truly extraordinary. One is bewildered by this painting, by the absolute freedom that the subject obviously enjoys, detaching himself from mere mortals who must obey the laws of nature. The figure is in the act of mocking the world with a complete impunity, a self-assurance that produce a mixture of astonishment and envy. The figure has a torso that recalls Michelangelo's Victory.
The painting probably shows Earthly Love triumphant over the Virtues and Sciences, symbolized by the musical instruments, pen and book, compass and square, scepter, laurel, and armor at his feet.
Caravaggio's Amor, a teenager with a gloating smile, "reigns" over a pile of weapons, instruments, a book (sheet music), drawing utensils, and a laurel wreath. He places his left knee lightly over these objects, while he holds a bunch of arrows in his right hand. Since the attributes of war, military glory, science and arts are scattered at Amor's feet, the painting reminds the viewer of a Vanitas still-life. Some objects in this still-life are emphasized: pieces of a suit of armour, a lute and a violin with a bow. These may refer to Mars and Venus, who, according to some classical genealogies, including that of Virgil's Aeneid I. 664, were the parents of the playful little winged deity Amor.
Thus in this painting the musical instruments represent Venus herself rather than either art in general or, through the association of fading melodies, transitoriness of human life. It is likely, of course, that the viewer of the sixteenth and seventeenth centuries may have thought of all the previous connotations, too, since he was used to the multiple meanings of symbols.
Source: Web Gallery of Art
Tags: Berlin Gemäldegalerie Berlin Amor als Sieger Caravaggio Amor Vincit Omnia Love conquers all Amor victorious Victorious Cupid Love triumphant Love Victorious Earthly love Deutschland Germany
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Grösster Anziehungspunkt und Prunkstücke des Regionalmuseum sind zwei frisch renovierte Gemälde von Caravaggio aus seinen letzten Lebensjahren, die Anbetung der Hirten und die Auferweckung des Lazarus.
In überraschender Distanz zum Betrachter, die durch stillebenhaft links aufgetürmte Gerätschaften und einen rechts vorn in den Weg gelegten Stein gefüllt wird, lehnt die auf dem Stroh hingestreckte Madonna an der gemauerten Krippe für Ochs und Esel. Maria hält das Kind innig im Arm, ohne zu den Hirten aufzublicken, die rechts hinter Joseph hereindrängen, der sitzend Mutter und Kind betrachtet.
Tags: Messina Anbetung der Hirten Caravaggio Adorazione dei pastori Adoration of the shepherds Museo Regionale Messina Sizilien Sicily Sicilia Italien Italy Italia
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Grösster Anziehungspunkt und Prunkstücke des Regionalmuseum sind zwei frisch renovierte Gemälde von Caravaggio aus seinen letzten Lebensjahren, die Anbetung der Hirten und die Auferweckung des Lazarus.
In überraschender Distanz zum Betrachter, die durch stillebenhaft links aufgetürmte Gerätschaften und einen rechts vorn in den Weg gelegten Stein gefüllt wird, lehnt die auf dem Stroh hingestreckte Madonna an der gemauerten Krippe für Ochs und Esel. Maria hält das Kind innig im Arm, ohne zu den Hirten aufzublicken, die rechts hinter Joseph hereindrängen, der sitzend Mutter und Kind betrachtet.
Tags: Messina Anbetung der Hirten Caravaggio Adorazione dei pastori Adoration of the shepherds Museo Regionale Messina Sizilien Sicily Sicilia Italien Italy Italia
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