By Andrew Graham-Dixon
“This e-book resees its topic with infrequent readability and gear as a painter for the twenty first century.”—Hilary Spurling, New York instances publication Review
In a bravura functionality, Andrew Graham-Dixon explores Caravaggio’s amazing creative achievements, delving into the unique Italian resources to create a masterful profile of the mercurial painter. This New York Times and Washington Post impressive publication of the yr beneficial properties greater than 80 full-color reproductions of the artist’s top work.
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Extra info for Caravaggio: A Life Sacred and Profane
44 ‘Primitivism’ in 20th Century Art 45 Chapter 2 ■ Exhibiting artistic modernism and modernity and the avant‑garde simply could not be anything but Western. What stands out is the institutional staging of Western modernism as one firm unity, which is able to actively recognize, or approve, passive and objectified non‑Western cultures. There was simply no room for non‑Western modern artists within this structure – it would not have been ‘in the true’. The mechanism can be demonstrated by reference to the Primitivism catalogue, in which Roberto Matta’s ‘A Grave Situation’ (1946) is reproduced on page 3.
For instance, Pablo Picasso’s Les Demoiselles d’Avignon from 1907 was shown with objects labelled, for instance, Mask. Susu. Guinea or Mask. Etoumbi region. 77 Accompanied by a comprehensive two‑volume catalogue with reproductions of the all the works exhibited, tribal and modern, plus additional works illustrating the 19 basic research articles, this thorough demonstration of the non‑Western inspirations behind some of the most celebrated modern artists seemed to pay tribute to the qualities of non‑Western art by revealing its important contribution to the historical avant‑gardes of Europe.
For instance, Wassily Kandinsky (born in Russia) and Ernesto de Fiori (born in Italy) were listed under ‘Germany’, Marc Chagall (born in Russia) and Richard Mortensen (born in Denmark) were listed under ‘France’, etc. 73 Given the specific need of the German art world to establish contact with any foreign artistic environment whatsoever at that time, the Western comprehension of ‘international contacts’ is understandable, and bearing in mind that the conceptual focus of the first Documenta was on early 20th century modernism, it is of no surprise that seven of the eight non‑Western born artists are from Russia and Hungary – a fact that reflects accurately the situation on the European art scene in the first three decades of the century, when Russian and Eastern European artists played an active and constitutive role in the artistic environments in Berlin and Paris.
Caravaggio: A Life Sacred and Profane by Andrew Graham-Dixon