Maart 2013: jaargang 10, nommer 1 - LitNet

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LitNet Akademies Jaargang 10 (1), Maart 2013 paintings were studied and an appreciative interview with a museum guide from the Galleria Borghese, where six of Caravaggio’s paintings are displayed, was conducted. The following unconditionally positive questions (Whitney and Trosten-Bloom 2010:11-2) were put to the museum guide: • What is your earliest or most pleasant memory of Caravaggio? • What do his paintings mean to you on a personal level? • Which painting is your favourite one and why? • What, in your opinion, is the one thing that enlivens his paintings – without which they imply would not be the same? • What would you wish today’s painters could learn from him? I then also put the questions to myself, transcribed the two interviews and identified the following three positive themes from them: • Caravaggio’s superior workmanship and the way he uses the interplay between light and shadow. • Three of his paintings in which Jesus is pictured as a baby boy (The Madonna of Loreto), as a small boy (The Madonna of the Palafrenieri), and as a corpse after his crucifixion (The Entombment). • The exceptional earthy realism in his paintings. Caravaggio was exceptionally skilful in applying an extreme tenebrism(“term describing predominantly dark tonality in a painting” – Chilvers 2009:620). Graham-Dixon (2010:184) explains the effect that this effect has on his paintings: “He used it here [in The Betrayal of the Christ] as a ruthless means of exclusion, spotlighting the figures at the very centre of the drama and casting everything else into deepest shadow.” Spear (1971:v) argues that the poorly lit scenes also convey a very strong message: “Equally evident is his emphasis on nocturnal arbitrary lighting, murky but nonetheless integrated with the dramatic piety of his religious works and with the badly lit ‘lower class’ environments. Poor people – poor light. Not for him the aristocratic sun.” The Entombment Graham-Dixon (2010:279) describes the Jesus in this painting of Caravaggio strikingly: “Caravaggio’s dead Christ is punishingly unidealized. He truly is the Word made flesh: a dead man, a real corpse weighing heavily on those who struggle to lay him to rest.” 476
LitNet Akademies Jaargang 10 (1), Maart 2013 According to Bonsanti (1984:50) the painting also engages the viewer on a very intimate spiritual level: A precise equilibrium governs the composition. The physical weight of the body becomes the moral weight of the world’s grief. The figure on the right, Nicodemus, turns toward the observer to establish a psychological bond that is also a specific reference: the scene is viewed as from the tomb; the impression is almost as if the figures are about to surrender the body of Christ, if not to the observer, at least to someone standing in the same place. The identification is therefore complete, the involvement inescapable. The Madonna of Loreto Graham-Dixon (2010:290–1) emphasises the accessibility and simple, yet powerful message of the scene: “The work is a tour de force of naked religious populism: spare to the point of banality, blatant in its appeal to the masses. [...] Once again, Caravaggio had painted a monumental altarpiece aimed squarely at the poor and the hungry.” The Madonna of the Palafrenieri Graham-Dickson (2010:305) considers this painting to be a confrontation with pure evil: the Madonna and the infant Jesus smashing the head of the snake under their feet. The holy Anna, fragile because of her age, looks on pensively. Graham-Dixon (2010:6, 31) describes this as “captivating realism” and “unprecedentedly stark and vivid naturalism”. Chilvers (2009:435) refers to the followers of Caravaggio “with reference to their doctrine of copying nature faithfully whether it seems to us ugly or beautiful” or “down-to-earth realism.” Keywords: Personal appreciation; 5D cycle of Appreciative Inquiry; positive themes; Caravaggio 1. Inleiding Sedert ek Andrew Graham-Dixon se boeiende biografie van Michelangelo Merisi da Caravaggio, Italiaanse meesterskilder gelees het, en sy asembenemende skilderye daarin gesien het, het ek die behoefte ervaar om meer van hom te wete te kom – om uit sy lewe en werk te leer, om sodoende bewondering en bekoring tot herkenning en waardering te bring. Toe ’n geleentheid om van sy skilderye in Rome se kerke en kunsmuseums te gaan bestudeer boonop opduik, was daar ’n merkbare toename in die intensiteit van hierdie behoefte. Die Christen wat Caravaggio (sien figuur 1) wil waardeer en bewonder, moet egter ’n belangrike struikelblok oorkom: die skilder was by uitstek ’n skoorsoeker en ook ’n moordenaar. Volgens Graham-Dixon (2010:4) gooi hy onder andere klippe na sy hospita se 477
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68 56. 69 1975 3 All ER 314 (CA). 7
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184 Zeffertt en Paizes (1986:15-6).
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Maart 2013: jaargang 10, nommer 1 - LitNet

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