MADRID (EFE) .- Without Caravaggio, the history of painting would have been very different. Was a revolutionary, one of the most influential artists of his time and broke with everything established, becoming a key figure in art, as evidenced by the exhibition “Caravaggio and painters of the North”.
The sample which opens to the public today at the Thyssen-Bornemisza Museum in Madrid, focuses on how the wake of Caravaggio arrived painters north, Dutch, Flemish and French.
the intense emotion of his works and its dramatic light, and the use of chiaroscuro, the convincing realism, psychological understanding and dedication to represent a literary way the great themes of humanity, made their influence to expand and spread out extraordinary.
the start of the exhibition Thyssen can not be more striking. In the space dedicated to “Caravaggio in Rome” you can see masterpieces such as “peeling fruit boy”, “Bitten by a Lizard Boy,” “The Fortune Teller”, “Musicians”, “David Victorious over Goliath” and “Santa Catalina Alexandria “.
in all, the curator Gert Jan van der Sman selected 53 works from private collections and museums like the Metropolitan in New York, the Galleria degli Uffizi in Florence, the Hermitage in St. Petersburg , the Rijksmuseum in Amsterdam and the church of San Pietro in Montorio in Rome.
continuous Reinvention
in his view, the impact of the work of Caravaggio in painting from the early Italian Seicento (XVII century) encompassed all phases of his multifaceted artistic production in Rome.
“the Lombard painter reinvented itself year after year throughout his career. No other painter of the Seicento evolved at a pace so fast and in so many different directions, “he said.
In the Netherlands and the Germanic regions, the art of Caravaggio was attractive, in addition to the possibility of working natural , by the prominent use of light, shadows and color. Painters could incorporate this style to his own without having to stick to the corset of a curriculum.
The exhibition can be seen until September 18, devotes a second space to the admiration they felt by the Lombard artist Elsheimer and Rubens, the first painters from northern Europe who were in contact with his work.
collecting is presented in the section dedicated to Benedetto and Vicenzo Giustiniani brothers, owners of 15 works Caravaggio. These art lovers helped many foreign painters to get orders and welcomed in their home Gerard van Honthorst, David de Haen and Nicolas Regnier.
Dirck van Baburen also featured a patron soon after arriving to Rome the Spanish Pedro Cosida, ambassador Felipe III in Rome, whose sponsorship culminated in the decoration of the chapel sewn in San Pietro in Montorio.
a Hendrick ter Brugghen and the School of Utrecht is dedicated another space . Hendrick was the first of the Dutch painters who, after his stay in Rome, returned home and introduced themes and stylistic formulas Caravaggio.
“The French painters in Rome” brings together works by French artists worked in Rome between 1610 and 1630, a collective especially interesting for its social and cultural diversity.
among them, Simon Vouet was the one who enjoyed a privileged position, with Claude Vignon. The position of both contrasted with Valentin de Boulogne, who took many years to find a patron.
The tour comes to an end with “Caravaggio and his followers in Naples and southern Italy,” where works of foreign painters installed in Naples and influenced by Caravaggio, among them Louis Finson and Matthias Stom are contemplated. Here “The sacamuelas”, whose attribution to the master takes years under discussion.
Some of the pictures
“The Sacrifice of Isaac” is displayed “St. John the Baptist in the desert, “” the Crowning of thorns “and” San Francisco in meditation “are some works that can be seen in the exhibition” Caravaggio and painters of the north “, which begins today at the Thyssen-Bornemisza Museum. It will end on September 18.
tangible objects
For the curator Gert Jan van der Sman, one of the highlights of his painting “is to convince the viewer perceives no tangible objects and images on a flat surface. ” He also managed to grab the attention with representations of humble as Romany types, card players and characters of picaresque novels.
Self
At the end of the sample is “the martyrdom of saint Ursula”, painted few weeks before his death and that Caravaggio portrays with a spear at the time when the king of the Huns strikes with his arrow to the saint.
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