GOING FOR BAROQUE Into the Bin - The Metropolitan Museum of Art
GOING FOR BAROQUE Into the Bin - The Metropolitan Museum of Art GOING FOR BAROQUE Into the Bin - The Metropolitan Museum of Art
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38. (opposite) Mattia Preti (Italian, Naples, 1613-1699) Pilate Washing His Hands, 1663 Oil on canvas, 81 Vs x 72% in. x (206.1 184.8 cm) Purchase, Gift of J. Pier pont Morgan and Bequest of Helena W. Charlton, by exchange, Gwynne Andrews, Marquand, Rogers, Victor Wilbour Memorial, and The Alfred N. Punnett Endow ment Funds, and funds given or bequeathed by friends of the Museum, 1978 (1978.402) 39 Rembrandt Harmensz. van Rijn Aristotle with a Bust Homer, 1653 Oil on canvas, 56 XA x of 53?/4 in. (143.5x136.5 cm) Purchase, butions or bequeathed special and funds contri given by friends of the Museum, 1961 (61.198) Ruffb, he a as a painted half-length figure pendant to one by Guercino and another by Rem brandt. Guercino's and Preti's are paintings lost, but Rembrandt's is the Aristotle with a Bust of Homer (fig. 39). It was possibly Preti's knowledge of this picture that inspired the remark able approach he took to the theme, concentrating attention on the face of the protagonist, and that determined him to offer the Pilate Washing His Hands to Ruffb, who, however, did not purchase it. Both Guercino's and Preti's canvases employ another artistic strategy to engage the viewer, and that is the intentional display of the action of the paintbrush to enhance the impression of movement and spontaneity. As we have seen in the case of Annibale Carracci's Two Children a Teasing Cat, this sort of loose, vigorous brushwork was associated with Venetian painting, and in the sixteenth century it had left a strong on impression the Tuscan-born artist biographer Giorgio Vasari when he visited Titian's studio. "It is certainly true," Vasari wrote, "that [Titian's] method of working in these last works is very different from the one he as a employed young man. While his early works are executed with a certain finesse and 41
- Page 1 and 2: GOING FOR BAROQUE Into the Bin can
- 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 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: 36. Rembrandt Harmensz. van Rijn (D
- 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
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