Thoughts on caravaggio

Critical Inquiry

Volumn 24, Issue 1, 1997, Pages 13-56

  Fried, Michael ^a  

^a JOHNS HOPKINS UNIVERSITY   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 61749083340     PISSN: 00931896     EISSN: None     Source Type: Journal    
DOI: 10.1086/448866     Document Type: Review

References (81)

1. Longhi, "Quesiti caravaggeschi: I, Registro dei tempi" and "II, I precedenti," Pinacotheca 1 (July-Aug. 1928): 17-33 and (Mar.-June 1929): 258-320
2. Opere complete di Roberto Longhi, 14 vols. (Florence, 1956- ), 4:81-143
3. Tancred Borenius, "An Early Caravaggio Rediscovered," Apollo 2 (1925): 23-26
4. Mina Gregori, The Age of Caravaggio (exhibition catalog. Metropolitan Museum of Art, New York, 5 Feb.-14 Apr. 1985; Museo Nazionale di Capodimonte, Naples, 12 May-30 June 1985), pp. 236-41
5. Richard E. Spear's "The Critical Fortune of a Realist Painter" in that catalog (pp. 22-27)
6. Mia Cinotti, Michelangelo Merisi detto il Caravaggio: Tutte le opere (Bergamo, 1983)
7. Giovanni Baglione, Le vite de'pittori, scultori, et architetti dal Pontificato di Gregorio XIII del 1572 infino a' tempi di Papa Urbano Ottavo nel 1642, ed. Jacob Hess and Herwarth Röttgen, vols. (1642; Vatican, 1995), 1:136
8. Walter Friedlaender, Caravaggio Studies (Princeton, N.J., 1955), pp. 231-36
9. Howard Hibbard, Caravaggio (New York, 1983), pp. 351-56
10. Eugenio Baltisti, Rinascimento e Barocco (Turin, 1960), pp. 213-14 n. 3
11. Luigi Salerno, "Poesia e simboli nel Caravaggio: I dipinti emblematici," Palatino 10 (1966): 107
12. Elizabeth Cropper, "The Petrifying Art: Marino's Poetry and Caravaggio," Metropolitan Museum Journal 26 (1991): 193-212
13. Maurizio Calvesi, "Caravaggio o la ricerca della salvazione," Storia dell'arte, no. 9/10 (1971): 93-142, 106-8
14. Leonard J. Slatkes, "Caravaggio's Painting of the Sanguine Temperament," in Actes du XXIIe congrès international d'histoire de Vart (Budapest, 1969)
15. Evolution generate et developpemenls régionaux en histoire de l'art, 3 vols. (Budapest, 1972), 2:17-24, 24
16. "Caravaggio's Boy Bitten by a Lizard" Print Review, no. 5 (Spring 1976): 149-53
17. Jane Costello, "Caravaggio, Lizard, and Fruit," in Art the Ape of Nature: Studies in Honor of H. W. Janson, ed. Moshe Barasch, Lucy Freeman Sandler, and Patricia Egan (New York, 1981), p. 383
18. Donald Posner, "Caravaggio's Homo-erotic Early Works," Art Quarterly 34 (Autumn 1971): 303, 304
19. S.J. Freedberg, Circa 1600: A Revolution of Style in Italian Painting (Cambridge, Mass., 1983), pp. 54, 59, 72
20. John Gash, "Caravaggio, Michelangelo Merisi da," in The Dictionary of Art, ed. Jane Turner, 34 vols. (London, 1996), 5:702-22, esp. pp. 708 and 718-19
21. Creighton E. Gilbert, Caravaggio and His Two Cardinals (University Park, Pa., 1995), esp. chap. 12, "Reports on Sexuality," and "Proposable Conclusions."
22. Rudolf Wittkower in Art and Architecture in Italy, 1600-1750 (Baltimore, 1958) pp. 22, 335 n. 10
23. Ágnes Czobor, "Autoritratti del giovane Caravaggio," Acta Historiae Artium, no. 2 (1955): 201-14
24. Longhi, Caravaggio [1952; Rome, 1982], pp. 46-48
25. Longhi, "Ultimi studi sul Caravaggio e la sua cerchia," Pwporzione 1 (1943): 35 n. 7
26. Cinotti, Caravaggio: La vita e I'opera (Bergamo, 1991), p. 25
27. Roberta Lapucci, "Caravaggio e i 'quadretti nello specchio ritratti,'" Paragone 45 [Man-July 1994]: 160-70
28. Riccardo Bassani and Fiora Bellini, "La casa, le 'robbe,' lo studio del Caravaggio a Roma: Due documenti inediti del 1603 e del 1605," Prospettiva, no. 71 [July 1993]: 69-70
29. Bassani and Bellini, Caravaggio assassino: La carriera di un "valenthuomo" fazioso nella Roma delta Controriforma (Rome, 1994), esp. pp. 35-43
30. Sandro Corradini in Caravaggio: Materiali per un processo (Rome, 1993)
31. Spear, "The Critical Fortune of a Realist Painter," in AC, p. 25
32. Giorgio Bonsanti, Caravaggio (Florence, 1984), p. 6
33. Gregori, "Caravaggio Today," in AC, p. 37
34. Louis Marin, To Destroy Painting, trans. Mette Hjort (1977; Chicago, 1995), p. 161
35. Henri Matisse: 1904-1917 (exhibition catalog, Centre Georges Pompidou, Paris, 25 Feb.-21 June 1993), p. 415
36. Courbet's Realism (Chicago, 1990)
37. Absorption and Theatricality: Painting and Beholder in the Age of Diderot (1980; Chicago, 1988)
38. Manet's Modernism, or, The Face of Painting in the 1860s (Chicago, 1996)
39. Fried, Courbet's Realism, pp. 184-88
40. Fried, Realism, Writing, Disfiguration: On Thomas Eakins and Stephen Crane (Chicago, 1987), chap. 2, "Stephen Crane's Upturned Faces."
41. Caravaggio in Disowning Knowledge in Six Plays of Shakespeare [Cambridge, 1987]
42. Joel Fineman Shakespeare's Perjured Eye: The Invention of Poetic Subjectivity in the Sonnets [Berkeley, 1986]
43. Leo Bersani, Baudelaire and Freud (Berkeley, 1977), p. 87 n. 17
44. Mikkel Borch-Jacobsen, The Freudian Subject, trans. Catherine Porter (Stanford, Calif., 1988), p. 93
45. Ruth Leys, "The Real Miss Beauchamp: Gender and the Subject of Imitation," in Feminists Theorize the Political, ed. Judith Butler and Joan Scott (New York, 1992), pp. 167-214
46. Christoph L. Frommel, "Caravaggio und seine Modelle," Castrum Peregrini 96 (1971): 21-56
47. Jacqueline Rose, The Haunting of Sylvia Plath (Cambridge, Mass., 1991), p. 228
48. Walter Melion, Shaping the Netherlandish Canon: Karel van Mander's "Schilder-Boeck" (Chicago, 1991), p. 70
49. Brandi, "L"Epistème' caravaggesca," Colloquio 5 (1974): 9-17, 10
50. Portrait of Jacobus Zaffius (1611) in Haarlem, illustrated and discussed in Frans Hals (exhibition catalog, National Gallery of Art, Washington, D.C., 1 Oct.-31 Dec. 1989; Royal Academy of Arts, London, 13 Jan.-8 Apr. 1990; Frans Halsmuseum, Haarlem, 11 May-22July 1990), pp. 130-32
51. Michel Butor, "La Corbeille de l'Ambrosienne," in Répertoire III (Paris, 1968), pp. 43-58
52. Posner, Annibale Carracci:A Study in the Reform of Italian Painting around 1590, 2 vols. (London, 1971), 1:21
53. 2:13
54. Bologna 1584: Gli esordi dei Carracci e gli affreschi di Palazzo Fava (exhibition catalog, Pinacoteca Nazionale di Bologna, 13 Oct.-16 Dec. 1984), pp. 180-81
55. Manet's Modernism, chap. 5, "Between Realisms," pp. 601-2 n. 9
56. Zirka Zaremba Filipczak, Picturing Art in Antwerp, 1550-1700 (Princeton, 1987), p. 202
57. Charles Dempsey, "The Carracci Reform of Painting," in The Age of Correggio and the Carracci: Emilian Painting of the Sixteenth and Seventeenth Centuries (exhibition catalog, Pinacoteca Nazionale, Bologna, 10 Sept. 10-Nov. 10, 1986; National Gallery of Art, Washington, D.C., 19 Dec. 1986-16 Feb. 1987; Metropolitan Museum of Art, New York, 26 Mar.-24 May 1987), pp. 237-54, esp. p. 253
58. "Idealism and Realism in Rome around 1600," in Il Classicismo: Medioevo, Rinascimento, Barocco, ed. Atti del Colloquio Cesare Gnudi (Bologna, 1993), pp. 233-43, esp. pp. 236-38
59. Roberto Zapperi in Annibale Carracci: Portrait de I'artiste enjeune homme, trans. Marie-Ange Maire Vi gueur (1989; Aix-en-Provence, 1990)
60. T. J. Clark, "Gross David with the Swoln Cheek: An Essay on Self-Portraiture," in Rediscovering History: Culture, Politics, and the Psyche, ed. Michael S. Roth (Stanford, Calif., 1994), pp. 243-307, esp. pp. 303-6
61. Posner, Annibale Carracci, 2:65-66
62. Dempsey, Annibale Carracci and the Beginnings of Baroque Style (Glückstadt, 1977), p. 73
63. Carlo Cesare Malvasia's lire of the Carracci in Felsina Pittrice: Vile dei pittori bolognesi, ed. Marcella Brascaglia (1678; Bologna, 1971), p. 288
64. Mary D. Garrard, "Artemisia Gentileschi's Self-Portrait as the Allegory of Painting" Art Bulletin 62 [Mar. 1980]: 97
65. Garrard, Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art (Princeton, N.J., 1983), chap. 6, "The Allegory of Painting."
66. Joel Snyder, Las Meninas and the Mirror of the Prince, Critical Inquiry 11 (June 1985): 539-72
67. "L'Art du portrait sous Louis XIV," Dossier de Vart, no. 37 [Apr. 1997]: 11
68. Giovanni Gerolamo Savoldo Ira Foppa, Giorgione e Caravaggio (exhibition catalog, Monastero di San Giulia, Brescia, 3 Mar.-31 May 1990; Schirn Kunsthalle, Frankfurt, 8 June-3 Sept. 1990), pp. 164-67
69. Mary Pardo "The Subject of Savoldo's Magdalene," Art Bulletin 71 (Mar. 1989): 67-91
70. Carlo del Bravo, "Dal Pontormo al Bronzino," Artibusethistoriae, no. 12 (1985): 75-87
71. Matteo Marangoni, "Note sul Caravaggio alia mostra del Sei e Settecento," Bolletino d'arte, no. 5 (Nov. 1922): 224
72. Stephen Melville "Compelling Acts, Haunting Convictions" (1991), Seams: Art as a Philosophical Context, ed. Jeremy Gilbert-Rolfe (Amsterdam, 1996), p. 190
73. Jean-Claude Lebensztejn, Au beauty parlour," Traverses, no. 7 (1977): 74-94
74. Frank Stella, Working Space [Cambridge, Mass., 1986], pp. 104, 109
75. Dempsey, "Masters of Rhetoric," review of 1600, in New Criterion 1 (June 1983): 87-90
76. Cropper and Dempsey, "The State of Research in Italian Painting of the Seventeenth Century," Art Bulletin 69 (Dec. 1987): 494-509
77. Fried, Manet's Modernism, pp. 346-64
78. Cesare Ripa, Iconologia: Overo descrittione di diverse imagini cavate dall' antichità, e di propria inventione (1593; Hildesheim, 1970), p. 51
79. Cropper, in Pietro Testa, 1612-1650: Prints and Drawings [exhibition catalog, Philadelphia Museum of Art, 5 Nov.-31 Dec. 1988; Arthur M. Sackler Museum, Harvard University Art Museums, Cambridge, Mass., 21 Jan.-19 Mar. 1989], pp. 165-67
80. The Emotional Tie: Psychoanalysis, Mimesis, and Affect, trans. Douglas Brick et al. (Stanford, Calif., 1993)
81. Sergio Benedetti, "Caravaggio's 'Taking of Christ,' a Masterpiece Rediscovered," Burlington Magazine 135 (Nov. 1993): 731-41