Michelangelo Merisi da Caravaggio 💎 #BOTD 1571 (d. 18 July 1610) was an Italian painter ... His paintings combine a realistic observation of the human state, both physical and emotional, with a dramatic use of lighting, which had a formative influence on Baroque painting.
Caravaggio employed close physical observation with a dramatic use of chiaroscuro that came to be known as tenebrism. He made the technique a dominant stylistic element, darkening shadows and transfixing subjects in bright shafts of light.
In the 20th century interest in his work revived, and his importance to the development of Western art was reevaluated. The 20th-century art historian André Berne-Joffroy stated, "What begins in the work of Caravaggio is, quite simply, modern painting."
Caravaggio, The Musicians, 1595–1596, Metropolitan Museum of Art, New York
Caravaggio, Saint Francis of Assisi in Ecstasy (c. 1595), Wadsworth Atheneum, Hartford
Caravaggio, The Lute Player, circa 1595 (commissioned by Francesco Maria del Monte)
The Calling of Saint Matthew (1599–1600), Contarelli Chapel, San Luigi dei Francesi, Rome. Without recourse to flying angels, parting clouds or other artifice, Caravaggio portrays the instant conversion of St Matthew by means of a beam of light and the pointing finger of Jesus.
Amor Vincit Omnia, 1601–1602, Gemäldegalerie, Berlin. Caravaggio shows Cupid prevailing over all human endeavors: war, music, science, government.
Saint Jerome Writing, 1605–1606, Galleria Borghese, Rome
Caravaggio, The Seven Works of Mercy, 1606–1607, Pio Monte della Misericordia, Naples
The Beheading of Saint John (1608) by Caravaggio (Saint John's Co-Cathedral, Valletta, Malta)
The Taking of Christ, 1602, National Gallery of Ireland, Dublin. Caravaggio's application of the chiaroscuro technique shows through on the faces and armour notwithstanding the lack of a visible shaft of light. The figure on the extreme right is a self-portrait.
Supper at Emmaus, 1601, oil on canvas, 139 cm × 195 cm (55 in × 77 in), National Gallery, London. Caravaggio included himself as the figure at the top left.
Caravaggio, The Crucifixion of Saint Peter, 1601, Cerasi Chapel, Santa Maria del Popolo, Rome
Caravaggio, The Entombment of Christ, (1602–1603), Pinacoteca Vaticana, Rome
Caravaggio, The Denial of Saint Peter (1610), Metropolitan Museum of Art
Caravaggio, Conversion on the Way to Damascus, 1601, Cerasi Chapel, Santa Maria del Popolo, Rome
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“Greek myth placed Pan as god of nature.His original place,Arcadia,is both a physical and a psychic location.The “caves obscure” where he could be encountered were expanded as the material recesses where impulse resides,the dark holes of the psyche whence desire and panic arise.”
“His habitat in antiquity,like that of Faunus was always dells, grottos, water, woods, and wilds-ever villages, never the tilled and walled settlements of the civilized; cavern sanctuaries,not constructed temples. He was a shepherd’s god, a god of fishers and hunters, a wanderer”
... Reflection seems the aim as we proceed further through the list of Pan’s loves. For another was Eupheme, wet nurse to the Muses... Finally, the one who fully reveals Pan’s intention is Selene, goddess of the moon...
What is resistant to light, obscure and driven... turns white and reflective, able to see what is going on in the night... The whitening is not an askēsis of the goat. It is not that Pan now knows and so does not act out, but the action turns reflective.”
— James Hillman
“I strongly believe in the importance of the scientific approach. Yet...the sciences have lost much of their vigor, vitality and curiosity. Dogmatic ideology, fear-based conformity and institutional inertia are inhibiting scientific creativity.”
~ Rupert Sheldrake
“With scientific colleagues, I have been struck over and over again by the contrast between public and private discussions. In public, scientists are very aware of the powerful taboos that restrict the range of permissible topics; in private they are often more adventurous.” ~ RS
“...science is being held back by centuries-old assumptions that have hardened into dogmas...The biggest scientific delusion of all is that science already knows the answers. The details still need working out but, in principle, the fundamental questions are settled.” ~ Sheldrake
Deconstructivism is a movement of postmodern architecture which appeared in the 1980s. It gives the impression of the fragmentation of the constructed building, commonly characterised by an absence of obvious harmony, continuity,or symmetry.
Walt Disney Concert Hall, Frank Gehry
Architects whose work is often described as deconstructivist (though in many cases the architects themselves reject the label) include Zaha Hadid, Peter Eisenman, Frank Gehry, Rem Koolhaas, Daniel Libeskind, Bernard Tschumi, and Coop Himmelb(l)au.
Seattle Central Library
Libeskind's Imperial War Museum North in Trafford, Greater Manchester (2002). An archetype of deconstructivist architecture, it comprises three fragmented, intersecting curved volumes, symbolizing the destruction of war.