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

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own painting by showing the Virgin with eyes open rather than closed and head raised rather than laid back (remnants of his first version are visible on the surface of the picture). Ulti mately, he was required to an paint new entirely version?the third, if we count Caravaggio's? in which the Virgin is shown awake, with hands clasped, about to be welcomed into heaven by a group of angels (the third version was accepted and is in situ in Santa Maria della Scala in Rome). Such were the a pitfalls painter risked as he negotiated the terrain of public reli gious art at a time when the Catholic Church was as a means promoting painting of commu nication for the worshiper rather than as an occasion for artistic expression. Within this context Ludovico Carracci's Lamentation is of exceptional interest. It was painted about 1580-82?more than a decade before we have anything from the hand of Caravaggio?and it dates from the early years of the Carracci cousins' concerted attempts to reform to painting; redirect it from the extreme stylizations of Mannerism back to the study of nature and the art of the great masters of the High Renaissance. We can demonstrate how Ludovico went about his task: a drawing for the figure of Christ exists?whether by Annibale or Ludovico is not altogether clear (fig. 20). It was obviously done in the studio from a young model on a posed piece of cloth draped over boxes that permitted his to legs be arranged in the appropriate position. The drawing is taken from an angle other than the one in the paint ing, suggesting that another was drawing made from a more viewpoint to the right. In all like lihood a number of artists worked from the same model simultaneously, each from a slightly different we angle?a practice associate with drawing academies. Part of the Carracci reform of was painting the promotion of drawing the nude. We might imagine this as drawing having been done by the young Annibale, while that of his older cousin Ludovico is lost, for Anni bale?the more audacious artist of the two?seems, in to general, have preferred angles that required greater foreshortening (and greater difficolt?). Be that as it may, Ludovico did not merely copy the pose onto his canvas. Rather, he incorporated into the a painting series of observations deriving from his study of the model. The play of across light the head and crown of thorns is especially remarkable. Such details are indications of a new manner of visualizing the subject, for Ludovico imagined with almost graphic intensity how Christ's broken body might have appeared when taken down from the cross, and he did not flinch at showing the left arm as though dislocated from the shoulder and the right hand mangled. Only in the painting do we begin to understand why the boxes beneath the model were arranged the way they were: among the most expressive elements in the picture is the arc high of Christ's chest, which has the effect of a great orchestral chord in the midst of a complex movement. Ludovico's Lamentation was an extremely experimental picture, created more in the spirit of pictorial reform than of reigning Mannerist conventions. Nonetheless, the figures of the Virgin Mary, Mary Magdalen, two holy women, and Saint John seem almost to have wandered into the painting from another, earlier era. True, the Virgin Mary is shown as an aged woman, her ashen features and limp hand meant to affirm her role as a participant in Christ's Passion (note the brilliant contrast of the Virgin's hand with Christ's and the way the Virgin's pallor echoes Christ's). Similarly, the face of Saint John is beautifully modeled in a shaft of light? the same light that falls across Christ's body. But these figures do not have the or weight indi viduality of the Christ. The Magdalen, with her pursed lips and luxuriant hair, owes more to pictorial conventions than to any notion of reality. Moreover, the grouping of these figures is curiously flat, and Christ's very real-seeming body reads almost as an insertion into what had started as an altogether less original work. Few serve as a more paintings eloquent testament to the experimental nature of early Baroque naturalism and the audacity necessary to intro duce it into a religious image. It takes little away from Ludovico to point out that this picture 22
19 Ludovico Carracci The Lamentation, (Italian, Bologna, 1555-1619) ca. 1580-82 Oil on canvas, 37 V2 x 68 in. x (95.3 172.7 cm) Purchase, Lila Acheson Wallace and The Annenberg Foundation Gifts; Harris Brisbane Dick, Rogers, and Gwynne Andrews Funds; Pat and John Rosenwald, Mr. and Mrs. Mark Fisch, and Jon and Barbara Landau Gifts; Gift of Mortimer D. Sackler, Theresa Sackler and Family; and Victor Wilbour Memorial, Marquand, The Alfred N. Punnett Endowment, and Charles B. Curtis Funds, 2000 (2000.68) 20. Annibale Carracci (?) Study of a Posed Figure, ca. 1580-82 Black chalk on paper, 7% x 10 V* in. (18.6 x 26 cm) Private collection 23 #
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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 and 14: 10. Giulio Cesare Procaccini (Itali
Page 15 and 16: Setting the Scene Let us start with
Page 17 and 18: We happen to know that the person f
Page 19: l6. (opposite) Sofonisba Anguissola
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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