By Peter Robb
A daring, clean biography of the world's first smooth painter As awarded with "blood and bone and sinew" (Times Literary Supplement) by way of Peter Robb, Caravaggio's wild and tempestuous existence was once a provocation to a tradition in a country of siege. The of the 16th century used to be marked by means of the Inquisition and Counter-Reformation, a historical past of ideological chilly conflict opposed to which, regardless of all odds and at nice fee to their creators, tremendous feats of paintings and technological know-how have been completed. No artist captured the darkish, violent spirit of the time higher than Caravaggio, variously referred to as Marisi, Moriggia, Merigi, and infrequently, easily M. As artwork critic Robert Hughes has acknowledged, "There was once paintings earlier than him and paintings after him, they usually weren't the same."Caravaggio threw out Renaissance dogma to color with impressive originality and fierce power, features which are echoed in Robb's prose. As with Caravaggio's artwork, M arrests and susps time to bare what the writer calls "the theater of the partially seen." Caravaggio's wild personality leaps via those pages like quicksilver; in Robb's expert fingers, he's an immensely beautiful personality with an wonderful connection to the glories and brutalities of existence.
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Additional info for M: The Man Who Became Caravaggio
1622 1629) Advertisement Touching An Holy War (published 1624 New Atlantis (published 1627) 1625 Essays, greatly enlarged 1626 Died April 9. XXXVII PROCEMIUM1. 1 Preliminary comment FRANCIS OF VERULAM2 REASONED THUS WITH HIMSELF, AND JUDGED IT TO BE FOR THE INTEREST OF THE PRESENT AND FUTURE GENERATIONS THAT THEY SHOULD BE MADE ACQUAINTED WITH HIS THOUGHTS. Being convinced that th e human intellect makes its own difficulties, not using the true he lps which are at man' s disposal soberly and judiciously; whence follows manifold ignoran ce of things, and by reason of that ignorance mischiefs innumerable; he3 thought all tr ial should be made, whether that co mmerce4 between the mind of man and the nature of things, which is more precious than anything on earth, or a t least than anything that is of the ea rth, might by any means be restored to its perfect and original condition, or if that may not be, yet reduced5 to a better co ndition than that in which it now is .
Lastly, I would address o ne general admonition to al l; that they consider what are th e true ends of knowl edge, and th at they seek it not either for pleasure of the mind, or for contention, or for superiority to others, or for profit, or fame, or power, or any of these inferior things; but for the benefit and use of life; and th at they perfect and govern it in char ity. For it was from lust of power that the angels fell, from lust of knowle dge that man fell; but of charity there can be no excess, neither did ang el or man ever come in danger by it.
3. The Phenomena of the Universe; or a Natural and Experimental History for the foundation of Philosophy. 4. The Ladder of the Intellect. 5. The Forerunners; or Anticipations of the New Philosophy. 6. The New Philosophy; or Active Science. The Arguments of the several Parts. It being part of my design to set everything forth, as far as may be, plainly and perspicuously (for nakedness of the m ind is still, as nakedness of the body once was, the companio n of inno cence and simplicity), let me first exp lain the ord er and plan of the work.
M: The Man Who Became Caravaggio by Peter Robb