Maart 2013: jaargang 10, nommer 1 - LitNet

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Figuur 14. Michelangelo se Piëta in die Sint Pieterskerk, Rome Figuur 15. Michelangelo se Jesus LitNet Akademies Jaargang 10 (1), Maart 2013 Figuur 16. Caravaggio se Jesus Volgens Bonsanti (1984:50) betrek die skildery die kyker op intieme geestelike vlak: 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. Maria, die moeder van Jesus, is ouer en dus meer realisties as die Maria in Michelangelo se Pietà, en sy kyk bedroef na haar seun. Die ander twee Marias toon meer emosie: Maria van Cleopas se oë is ten hemele gerig en sowel Bonsanti (1984:50) as Pomella (2004:40) beskryf haar wye, oop arms as “execratory”: verfoeiend. Maria Magdalena staan met geboë hoof en dit lyk of sy huil (Graham-Dixon 2010:280). Die model vir al twee hierdie Marias was Fillide Melandroni (Graham-Dixon 2010:280), ’n prostituut wat dikwels in Caravaggio se skilderye voorkom (Graham-Dixon 2010:175–6). 8.2 Die Madonna van Loreto Caravaggio skilder hierdie werk (figuur 11) vir die Cavaletti-kapel van die Sant’Agostino (Graham-Dixon 2010:288–9). Dit hang steeds daar en is toevallig die eerste oorspronklike Caravaggio-skildery wat sowel ek as die museumgids besigtig het (sien tabel 2). Dit is duidelik beïnvloed deur ’n besoek wat Caravaggio aan die dorp Loreto en sy Heilige Huis bring (Graham-Dixon 2010:288): volgens oorlewering het die huis waarin Jesus as kind gewoon het, wonderbaarlik gedurende ’n nag in Desember 1294 van Nasaret tot in Loreto gevlieg. Protestante verwerp die kultus rondom Loreto, maar Katolieke pelgrims besoek die heiligdom op hulle pelgrimstogte. Caravaggio beeld twee sulke arm pelgrims uit wat by die ingang van die heiligdom voor Maria en die Jesuskind kniel. Die voorste een se voete is kaal en vuil en hul klere is armoedig, maar hulle word beloon vir hul eerlike vroomheid en weke lange pelgrimstog met 504
LitNet Akademies Jaargang 10 (1), Maart 2013 ’n visie van die Maagd en haar Seun (Graham-Dixon 2010:289). Ek het dit eers heelwat later – na my terugkeer uit Rome – besef, maar hier het ek self ook die rol van ’n pelgrim gespeel, en is ek self ’n geestelike blik op Jesus gegun. Graham-Dixon (2010:290–1) beklemtoon die toeganklikheid en eenvoudige, dog kragtige boodskap van die toneel: “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.” Dit was egter ook, soos dikwels gebeur het, hierdie direkte populistiese boodskap van Caravaggio aan die armes en die sondaars – die model vir die Maagd was ’n prostituut, Lena (Pomella 2004:28) – wat behoudende kritici erg omgekrap het. Bellori lewer in 1672 snydende kommentaar op die skildery: Now began the imitation of common and vulgar things, seeking out filth and deformity, as some popular artists do assiduously [...]. The costumes they paint consist of stockings; breeches, and big caps, and in their figures they pay attention only to wrinkles, defects of the skin and exterior, depicting knotted fingers and limbs disfigured by disease. (In Graham-Dixon 2010:292) Giovanni Baglioni, ’n aartsvyand van Caravaggio, beskryf in sý 1642-biografie die skildery en rapporteer die reaksie van die publiek (wat hy die populani noem) daarop: “[H]e painted the Madonna of Loreto from life with two pilgrims; one of them has muddy feet and the other wears a soiled and torn cap; and because of this pettiness in the details of a grand painting the public made a great fuss over it” (in Graham-Dixon 2010:293). Graham-Dixon (2010:293) plaas die woord populani wat Baglione vir “publiek” gebruik, binne konteks: dit verwys na die laer klasse van die samelewing, die hoi polloi (“minder beskaafde of onopgevoede deel van die bevolking; gepeupel” – Odendal en Gouws 2005:412). Die woord wat hy vir hul reaksie gebruik (schiamazzo), beteken “a din of chattering, but can also be used to describe the cackling of geese”. Hy verklaar voorts: “He had painted it for thepopulani, and whether they cackled like geese or not, the populani took it to their hearts.” Soos wat ek ook meer as 400 jaar later sou doen. 8.3 Die Madonna van die Palafrenieri Hierdie skildery (figuur 12) was een van Caravaggio se grootste deurbrake, maar ook een van sy grootste teleurstellings. Hy ontvang die opdrag om dit te skilder met die goedkeuring van die Pous van die Broederskap van die Palafrenieri, wie se beskermheilige die Heilige Anna, volgens oorlewering die moeder van Maria, was (Graham-Dixon 2010:305). Dit verklaar dan ook waarom sy saam met Maria op die skildery uitgebeeld word. Die skildery was bestem vir die Sint Pieterskerk in die Vatikaan, en spesifiek die Sint Anna-altaar. Hierdie altaar is besit deur die Broederskap van die Palafrenieri. 505
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47 Dugard (1995:241-51). 48 Sien oo
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Eindnotas 1 Hierdie artikel is geba
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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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265 Schmidt (1982:594). LitNet Akad
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295 Clifford v Turrel 1845 1 Y&C Ch
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339 Sien die bespreking supra par.
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1. Inleiding LitNet Akademies Jaarg
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3. Slagoffers van geweldsmisdade in
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13 S v Matyityi 2011 1 SA 40 (HHA)
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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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5.1 Verby die staat na die hele wê
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33 Folke e.a. (2011:720). 34 Dalby
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Quinot, G. en S. Arrowsmith (reds.)
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11 Departement van Handel en Nywerh
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33 Tesouriereg. 16A9.1 lui: The acc
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4.5 Bespreking van die bevindinge L
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3. Uitbeelding van die Anglo-Boereo
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Dlamini, J. 2009. Native nostalgia.
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—. 2012. Sirkusboere (resensie).
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Figuur 7. Tegnologiese onderrig-lee
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Vuil hande pa, ek onthou ’n plaas
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intussen hou ek die spieël angstig
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Die vel is metaal soos ’n sinkdam
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3. Die veld van kulturele produksie
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Maart 2013: jaargang 10, nommer 1 - LitNet

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