GOING FOR BAROQUE Into the Bin - The Metropolitan Museum of Art

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11. Domenico Guidobono An Allegory, ca. 1720 (Italian, Genoa, 1668-1746) Oil on canvas, 56% x 92V4 in. x (144.1 234.3 cm) Purchase, R. A. Farnsworth Gift, Gwynne Andrews, Charles B. Curtis, Rogers, Marquand, The Alfred N. Punnett Endowment, and Victor Wilbour Memorial Funds, 1970 (1970.261) 12. (opposite) Caravaggio (Michelangelo Merisi; Italian, Lombardy, 1571-1610) The Musicians, ca. 1595 Oil on canvas, 36 Va x 46% in. (92.1 x 118.4 cm) Rogers Fund, 1952 (52.81) l6
Setting the Scene Let us start with three key paintings, all carried out in the sixteenth century, between about 1582 and 1595, but crucial to the revolution on which Baroque art is based: Cara vaggio's Musicians (fig. 12), Annibale Carracci's Two Children a Teasing Cat (fig. 13), and Ludovico Carracci's Lamentation (fig. 19). Each has been conceived within the broad frame work of naturalism, but the results are as diverse as the aims of the artist and the subjects they treat. Caravaggio's painting is an allegory of music, but an allegory presented in the guise of a genre painting. A winged Cupid is shown gathering grapes at the left of the composition. The are figures based on posed models man (the with a cornetto who looks out at us is almost cer tainly a self-portrait done with the aid of a mirror). The frisson felt by cultivated seventeenth century viewers when they studied a work such as this one derived precisely from the unorthodox combination of the abstract world of allegory, normally dished up with a strong dose of Raphaelesque idealization, and the world of contemporary musical practice. 17*
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Page 3 and 4: We Like What We Know IN 1786, the t
Page 5 and 6: course, like Goethe, he was already
Page 7 and 8: (Fry, raised a Quaker, should perha
Page 9 and 10: 4? (opposite) Jusepe de Ribera (Spa
Page 11 and 12: ?#\ i % ' **& :#"* > ^ / V* V? 13?
Page 13: 10. Giulio Cesare Procaccini (Itali
Page 17 and 18: We happen to know that the person f
Page 19 and 20: l6. (opposite) Sofonisba Anguissola
Page 21 and 22: 19 Ludovico Carracci The Lamentatio
Page 23 and 24: 22. Federico Head Looking (study me
Page 25 and 26: 24. Annibale Carracci The Coronatio
Page 27 and 28: irony and clever wordplay. For exam
Page 29 and 30: 31'
Page 31 and 32: 28. Caravaggio The Entombment, 1602
Page 33 and 34: 30. Helmet Venetian, late 15th cent
Page 35 and 36: 33 Guercino (Giovanni Francesco Bar
Page 37 and 38: 36. Rembrandt Harmensz. van Rijn (D
Page 39 and 40: 38. (opposite) Mattia Preti (Italia
Page 41 and 42: incredible care, and are made to be
Page 43: 42. Salvator Rosa The Dream of Aene
Page 46: and it also establishes an Olympian

GOING FOR BAROQUE Into the Bin - The Metropolitan Museum of Art

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