CARAVAGGIO and other artists of the seventeenth century
From October 23 to March 27 | Castel Sismondo, Rimini – Piazza Malatesta
The Wadsworth Atheneum in Hartford, Connecticut, is the oldest museum in America, still one of the most important, with a dense collection of masterpieces ranging from the masters of European art mainly of the seventeenth and eighteenth centuries, a fundamental Impressionist section, a large section on the nineteenth century American art and a section devoted to twentieth-century painting, running from Matisse, Picasso and Klee, touches broadly Surrealism of Magritte, Dali, Ernst and Tanguy arriving at Pollock, Rothko and Wyeth in America.
Considering that in 2010 it reaches the 400 years since the death of Caravaggio, Castel Sismondo has chosen to host the exhibition in Paris at the same time. The wonderful years, a second special exhibition entitled Caravaggio and other artists of the seventeenth century. Masterpieces from the Wadsworth Atheneum in Hartford. It is a sublime selection of fifteen paintings, all of great size, from that nucleus so important that the American museum is dedicated to the seventeenth century. Natural origin from that unforgettable masterpiece that is The Ecstasy of St. Francis by Caravaggio, the very first part of a religious painting by the great artist around 1594.
This is the first composition of Caravaggio set more figures, is his first religious painting, his first experiment in landscaped surroundings and an early example in which the artist uses light both literally, to illuminate the scene both figuratively, as a metaphor for the divine presence. Every aspect of this work is outstanding and innovative. The way the artist interprets the ecstasy that accompanied the metaphorical death of Francis and his spiritual rebirth in the image of Christ is quite unusual for the absence of the heavenly seraphim, for laying the saint kneeling in prayer but reverses and the presence of the angel pretty childish. Caravaggio wanted clear
mind to allude to the metaphorical death of Francis and his spiritual rebirth in the image of Christ. In the painting are proposed explicitly the similarities between the life of Francis and Christ: the figures around the fire recall the announcement of the birth of Jesus to the shepherds, the hug of support from the angel is based on the representation of ‘Agony in the Garden and the laying of Francis attitude as the body of Mercy, recalls the image of Christ’s death supported by angels. The gesture of the angel, with his forefinger and thumb hooked around Cordiglia the saint to turn to the observer to make visible injuries, emphasizes, as ecstatic lack of death and spiritual rebirth of Francis, role as an imitator of Christ.
Around this painting capital, the exhibition consists of works of renowned works of authors who have derived from Caravaggio example, Cigoli Morazzone, Gentileschi, Strozzi, Saracens in Italy. So within Zurbarán Spanish, with one of his most recognized works, the San Serafione of 1628, a fascinating picture that reveals the intimate connection, the existing Spanish art of the seventeenth century, including sculpture and painting. The way it portrayed the saint is it realistically so that one almost has the impression of being able to touch.
And then Rivera, with his sense of taste, about 1614-1616, which reveals a clear link with the naturalism and the chiaroscuro of Caravaggio. So, Le Sueur in France and the School Sweerts with Flemish and Dutch, Hals and Van Dyck, the most important portrait painter in Haarlem in the second quarter of the seventeenth century, with the Portrait of Joseph Coymans, 1644, executed with brushwork and vibrant independent sketch the dynamic personality of the character portrayed in accordance with the conventions of portraiture of the time.