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Old 22nd August 2020, 05:54 PM   #20
Jim McDougall
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Join Date: Dec 2004
Location: Route 66
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The observation on the very dark themes often seen in many classic works of art does seem to reflect the more sinister elements of humanity which were certainly prevalent then. As noted, it would seem that although these very negative, even gruesome events were certainly present , one wonders why an artist would not choose beauty over darkness.

From what I have understood on Carvaggio, he was a dark man, often brutish, prone to violence, brawls and indeed 'darkness'. It seems ironic that his beautifully painted works used the almost paradoxical manner of painting called chiaroscuro, a dramatic contrast of light and dark. Perhaps he saw irony and contrast in his artists perception of beauty, entwined in the darkness within him.

It has long been debated on the true cause of his death, but a notably held theory is that lead poisoning was the culprit. His times were indeed violent (but not sure that any more so than our own) but as with most people, the manner of dealing with them is as diverse as humanity itself. With him, he seemed to steer headlong into the violence.

With the famed Spanish painter Goya, his early works were beautiful with landscapes and other lighter themes. As time went on and war raged, his entire demeanor changed with an overpowering darkness in his work.
The theory again was lead poisoning in addition to illnesses, typically syphilis,which often aligned with similar symptoms in lead poisoning.

While observing here the weapons portrayed in Carvaggio's works, it is interesting to see how these forms were actually in use in these times, which were indeed dark as the themes show. This is quite in contrast to the romantically colorful and heroic portrayals in literature and film of swashbuckling figures dashingly using such weapons.

Also, I would note again that Carvaggio toward his demise, quite literally had 'a price on his head', as he had been indicted in a crime where the sentence was dictated as beheading and the bounty was out to anyone who could carry it out.
With this, the decapitations are allegorical using historic figures but in Carvaggio's own likeness. These kinds of interpretive elements are truly the intrigue of art study.........very much as in the study of arms, VIA the weapons as used in thier own historic settings.

Last edited by Jim McDougall; 22nd August 2020 at 07:30 PM.
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