Caravaggio's Secrets (October Books) by Leo Bersani

By Leo Bersani

Many critics have explored the homoerotic message within the early pics of the baroque painter Michelangelo Caravaggio (1573-1610). In Caravaggio's secrets and techniques, Leo Bersani and Ulysse Dutoit emphasize in its place the impenetrability of those pix. the stress among erotic invitation and self-concealing retreat leads Bersani and Dutoit to finish that the curiosity of those works is of their illustration of an enigmatic handle that solicits intimacy which will block it with a mystery. Bersani and Dutoit provide a psychoanalytic examining of the enigmatic handle as beginning relatives grounded in paranoid fascination. They research Caravaggio's makes an attempt to maneuver past such kinfolk, his experiments with an area now not circumscribed by means of the mutual and paranoid, if erotically stimulating, fascination with imaginary secrets and techniques. In his most unique paintings, Caravaggio proposes a appreciably new mode of connectedness, a nonerotic sensuality proper to the main intriguing makes an attempt in our personal time to reconsider, even perhaps to reinvent, group.

Show description

Read or Download Caravaggio's Secrets (October Books) PDF

Similar individual artists books

Revolution World

Set in a near-future, post-ecological and post-economic cave in, Revolution global chronicles the romance among rogue genetic engineer Clio Somata, and martial-artist computer-programmer Seth Boucher. unfortunately, the line of affection is rarely effortless. .. consequently, an overreaching US army institution and an evil multi-national bioengineering company has determined that they need what Clio and her kinfolk has - leading edge bio-technology.

An Artist of the American Renaissance: The Letters of Kenyon Cox, 1883-1919

Kenyon Cox was once born in Warren, Ohio, in 1856 to a nationally well-known kinfolk. He studied as a teenager on the McMicken artwork institution in Cincinnati and later on the Pennsylvania Academy of good Arts in Philadelphia. From 1877 to 1882, he used to be enrolled on the Ecole des Beaux Arts in Paris, after which in 1883 he moved to long island urban, the place he earned his residing as an illustrator for magazines and books and confirmed easel works in exhibitions.


Piet Mondrian performed a tremendous position within the improvement of summary artwork throughout the first 1/2 the twentieth century. because the relocating spirit of De Stijl, the main austere of all abstractionist hobbies, Mondrian built and conducted his thought of artwork nearly in isolation he owed little to the other artist or tuition of portray.

Additional resources for Caravaggio's Secrets (October Books)

Example text

In the Boy with a Basket of Fruit, as well as in Caravaggio’s other early works, the address is at once transparent and enigmatic, a combination central to the seductive or erotic appeal of Caravaggio’s solitary male figures. The soliciting in the Fortune Teller is more ambiguous. By extending his hand, the young man is asking (or so it would seem) to be read; the gypsy presumably possesses his secrets, or his future. But rather than confidently search his palm, she spies on his face, as if looking there for the key to who he is.

The withheld being with which the other addresses us is the other’s desirability. To modify the way in which the human being is addressed would modify the relationality that constitutes the human as we know it. ” We raised this question in the context of Freud’s argument, especially in “Instincts and Their Vicissitudes” (1915), concerning the fundamental antagonism between the ego and the external world. ” 3 Within the Freudian scheme, we argued, the ego’s profound mistrust of the world can be “overcome” only by a narcissistic identification with the hated object, one that masochistically introjects that object.

These questions are, strictly speaking, unanswerable: there is no original version of the subject. The only way in which a painting could treat “the betrayal of Christ” mimetically would be to imitate compositional rules of imitation. The dependence of the one on the other can be seen in Alberti’s treatise On Painting. ” In historical or mythical painting, the spectator’s recognition obviously can’t depend on a comparison of the work with its model. ” Only by B       B     studying “how in fact things are seen”—how we see each thing in its particular space, in the relations among its several surfaces, and in the colors of those surfaces—will he be able to convince us of his powers of observation.

Download PDF sample

Rated 4.05 of 5 – based on 37 votes