Maart 2013: jaargang 10, nommer 1 - LitNet

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LitNet Akademies Jaargang 10 (1), Maart 2013 The painting of such seventeenth-century masters as Rembrandt in Holland, Georges de La Tour in France, Ribera in Spain, even the work of much later Romantic artists such as Gericault and Delacroix, all are inconceivable without the pictorial revolution first unleashed by Caravaggio in his two pictures of scenes from the life of St Matthew. It is no exaggeration to say that they decisively changed the tradition of European art. Ek is hoegenaamd nie ’n kunstenaar nie, maar ek is reeds deur Caravaggio geïnspireer en hoop om steeds deur hom geïnspireer te word. Bewondering vir, en ’n waardering van, ’n kunstenaar soos hy lê egter ten grondslag van sodanige inspirasie en ek kan, of wil, nie deur sy donker kant geïnspireer word nie. Hoewel ek wel vertroosting en berusting vind in die feit dat hy ten spyte van – of dalk selfs juis as gevolg van – sy donker kant briljante werk kon lewer, wil ek – soos reeds gemeld – bewustelik op die positiewe, energiegewende hoedanighede in sy lewe en werk fokus en dít waardeer. Hierdie bewustelike keuse impliseer natuurlik nie dat die negatiewe kant van sy lewe nie bestaan het nie – en ook nie dat dit minder belangrik as sy positiewe kant was nie. Dit beteken bloot dat ek verkies om vir dié spesifieke persoonlike waardering nie daarop te fokus nie. Crous, De Bruyn, Roodt e.a. (2006:4) verwys na Harold Bloom wat voorstel dat waardering die beste manier is om uitstaande vermoë te verstaan. Deur Caravaggio en sy skilderye te waardeer wil ek myself uitdaag om my eie lewe te ondersoek, te verryk en te ontwikkel. Crous e.a. (2006:4) stel dit soos volg: “Inquiring into the mastery of another may therefore stimulate positive change.” In die volgende paragrawe word die 5D-raamwerk van WO as die strukturele onderbou vir hierdie persoonlike waardering aangebied. 4. Navorsingsontwerp en verloop van hierdie persoonlike waardering Omdat ek tydens hierdie persoonlike waardering na die mees verhelderende, effektiewe en positiewe hoedanighede van Caravaggio en sy werk wil soek en as energiegewende impulse vir positiewe persoonlike ontwikkeling wil aanbied en benut, ag ek die 5D-metodologie van WO as die mees toepaslike en geskikte vir die studie. Cooperrider e.a. (2008:xv) verduidelik hoe dit moet begin: “AI begins by identifying what is positive and connecting to it in ways that heighten energy, vision and action for change.” Whitney en Trosten-Bloom (2010:6,14) en Watkins, Mohr en Kelly (2011:36) bied die 5Draamwerk van WO (sien figuur 2) aan as raamwerk om gesprekke en ondersoeke rondom bepaalde onderwerpe te rig. Ek het dit aangepas om die spesifieke doelwitte en inhoude van my persoonlike waardering te reflekteer. 488
LitNet Akademies Jaargang 10 (1), Maart 2013 Figuur 2. Die 5D-raamwerk as struktureel-wetenskaplike onderbou vir die studie, soos aangepas uit Whitney en Trosten-Bloom (2010:6) en Watkins. Tydens die tweede fase van die 5D-siklus – “discovery”, ontdekking - is Graham-Dixon se biografie van Caravaggio gelees om as onderbou vir die besoek aan Rome te dien. Daarna is 17 van sy skilderye in Rome (sien Figuur 3) bestudeer. Waar moontlik, is foto’s daarvan geneem (sommige kerke en museums laat dit nie toe nie). Op die laaste dag van my besoek aan Rome het ek voor die Galleria Borghese (figuur 4) – waar ses van sy skilderye vertoon word – op ’n bankie gaan sit met ’n plakkaat as uitnodiging aan verbygangers om aan die navorsing deel te neem (figure 5 en 6). Hierdie strategie strook met wat Kelm (2005:65) voorstel: “I can then find someone I feel comfortable with to ask and answer the questions with me.” 489
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68 56. 69 1975 3 All ER 314 (CA). 7
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109 5, 6, 7, 41. 110 Joubert (2004:
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184 Zeffertt en Paizes (1986:15-6).
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225 1879 4 CPD 450. 226 1920 1 Ch 4
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339 Sien die bespreking supra par.
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37 Riglyn 4 (eindnota 19 hier bo).
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Abstract LitNet Akademies Jaargang
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3.5 ’n Dringende oproep om doeltr
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Quinot, G. en S. Arrowsmith (reds.)
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Dlamini, J. 2009. Native nostalgia.
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—. 2012. Sirkusboere (resensie).
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Maart 2013: jaargang 10, nommer 1 - LitNet

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