Caravaggio's Narcissus at the Source (Accompanied with Flash Video)

Total Page：16

File Type：pdf, Size：1020Kb

Caravaggio's Narcissus at the Source (accompanied with flash video) Ovid, Metamorphoses, c. 8 C.E. translation from Latin by Sir Samuel Garth, John Dryden, et.al. There stands a fountain in a darksom wood, Nor stain'd with falling leaves nor rising mud; Untroubled by the breath of winds it rests, Unsully'd by the touch of men or beasts; High bow'rs of shady trees above it grow, And rising grass and chearful greens below. Pleas'd with the form and coolness of the place, And over-heated by the morning chace, Narcissus on the grassie verdure lyes: But whilst within the chrystal fount he tries To quench his heat, he feels new heats arise. For as his own bright image he survey'd, He fell in love with the fantastick shade; And o'er the fair resemblance hung unmov'd, Nor knew, fond youth! it was himself he lov'd. The well-turn'd neck and shoulders he descries, The spacious forehead, and the sparkling eyes; The hands that Bacchus might not scorn to show, And hair that round Apollo's head might flow; With all the purple youthfulness of face, That gently blushes in the wat'ry glass. By his own flames consum'd the lover lyes, And gives himself the wound by which he dies. To the cold water oft he joins his lips, Oft catching at the beauteous shade he dips His arms, as often from himself he slips. Nor knows he who it is his arms pursue With eager clasps, but loves he knows not who. Source URL: http://smarthistory.khanacademy.org/narcissus-at-the-source.html Saylor URL: http://www.saylor.org/courses/arth207 (Art History 207) Attributed to:!SmartHistory.org Saylor.org Page 1 of 1 .

Copy Link

Recommended publications

The Gender Metamorphosis of Narcissus. Salvador Dalí: Metamorphosis of Narcissus
Estetyka The Polish Journal i Krytyka of Aesthetics 41 (2/2016), DOI: 10.19205/41.16.3 Zdeňka Kalnická* The Gender Metamorphosis of Narcissus. Salvador Dalí: Metamorphosis of Narcissus Abstract This contribution is devoted to an interpretation of the artwork, from a gender point of view, Metamorphosis of Narcissus by Salvador Dalí. Dalí’s painting is compared with the Narcissus stories to be found in antiquity, particularly in Ovid’s Metamorph- oses, with his stress on the beauty of a young boy, and the commensurate concepts of seeing and mirroring. The gender associations of narcissism and their changes are well-documented in the history of art (Caravaggio, Edward Burne-Jones) and in differ- ent concepts of narcissism (Sigmund Freud, Gaston Bachelard, Lou Andreas-Salomé, Julia Kristeva). The author focuses on the gender aspects of surrealism, keying in espe- cially to the concept of Anima and Animus (Carl Gustav Jung). Dalí’s work is analyzed in terms of associating Narcissus not merely with seeing and mirroring but also with touching and metamorphosis, emphasizing his remarkable skill at transgressing gen- der divisions in his visionary leap towards androgyny. Key words Narcissus, Ovid, Caravaggio, Edward Burne-Jones, Salvador Dalí, Gaston Bachelard, Sigmund Freud, Carl Gustav Jung, Lou Andreas-Salomé, Julia Kristeva, Remedios Varo, androgyny, art, beauty, bisexuality, gender, metamorphosis, mirror, surrealism Introduction Before starting the process of an interpretation of Salvador Dalí’s paint- ing Metamorphosis of Narcissus, the aim and method of the paper must be illuminated in order to make its structure, content and style more * Faculty of Arts DepartmentUniversity of of Ostrava Philosophy Email: [email protected] 52 Zdeňka Kalnická comprehensible.
[Show full text]
Gaze of the Medusa: the Defeat of Hillary Clinton
Athens Journal of Humanities & Arts - Volume 5, Issue 3 – Pages 285-298 Gaze of the Medusa: The Defeat of Hillary Clinton By Victoria Clebanov Bennett Kravitz‡ Peel off the napkin O my enemy. Do I terrify? Sylvia Plath, Lady Lazarus You only have to look at the Medusa straight on to see her. And sheʼs not deadly. Sheʼs beautiful and laughing ... Helen Cixous, The Laugh of Medusa This essay ventures a post-election reflection on the significance of Clintonʼs defeat by addressing its emblematic representation as Medusaʼs decapitation by the triumphant Perseus. It is not a coincidence, we argue, that Clinton triggered in public imagination the odious image of Medusa, the epitome of female monstrosity of all [patriarchal] times, while Trumpʼs imagery of his rival articulated the ancient angst of man: the fear of woman as a mirror of manʼs own monstrosity, the inability to tolerate ambiguity embedded in woman, the envy of incapacity to create life ("uterus envy"). Thus, Trumpʼs experience of Clinton as Medusa echoes manʼs experience of powerful/ creative woman as a monstrously threatening reminder of his own narcissistic discontents. It also unravels manʼs need to demonize Medusa by victimization and then re-victimize her by demonization. Just as Medusa herself, an innocent beautiful maiden from Ovidʼs story, converts into a petrifying mirror of manʼs own monstrosity, so does the representation of Clinton and Clintonʼs defeat becomes a mirror through which an invisible lens of misogyny manifests itself. Introduction - The Medusa Defeated: An Aftermath Since the very day of the presidential election, many pundits, scholars and intellectuals have desperately been seeking a rational explanation for the defeat of Hillary Clinton.
[Show full text]
Caravaggio, Second Revised Edition
CARAVAGGIO second revised edition John T. Spike with the assistance of Michèle K. Spike cd-rom catalogue Note to the Reader 2 Abbreviations 3 How to Use this CD-ROM 3 Autograph Works 6 Other Works Attributed 412 Lost Works 452 Bibliography 510 Exhibition Catalogues 607 Copyright Notice 624 abbeville press publishers new york london Note to the Reader This CD-ROM contains searchable catalogues of all of the known paintings of Caravaggio, including attributed and lost works. In the autograph works are included all paintings which on documentary or stylistic evidence appear to be by, or partly by, the hand of Caravaggio. The attributed works include all paintings that have been associated with Caravaggio’s name in critical writings but which, in the opinion of the present writer, cannot be fully accepted as his, and those of uncertain attribution which he has not been able to examine personally. Some works listed here as copies are regarded as autograph by other authorities. Lost works, whose catalogue numbers are preceded by “L,” are paintings whose current whereabouts are unknown which are ascribed to Caravaggio in seventeenth-century documents, inventories, and in other sources. The catalogue of lost works describes a wide variety of material, including paintings considered copies of lost originals. Entries for untraced paintings include the city where they were identified in either a seventeenth-century source or inventory (“Inv.”). Most of the inventories have been published in the Getty Provenance Index, Los Angeles. Provenance, documents and sources, inventories and selective bibliographies are provided for the paintings by, after, and attributed to Caravaggio.
[Show full text]
The Artworks That Predicted the Future of the World ART & PHOTOGRAPHY FEATURE
JAMES FUENTES 55 Delancey Street New York, NY 10002 (212) 577-1201 [email protected] via pinterest The artworks that predicted the future of the world ART & PHOTOGRAPHY FEATURE From Caravaggio to Warhol, Yayoi Kusama and Amalia Ulman, these works ask: does art imitate life or life imitate art? 1May 2018 Text Lexi Manatakis In 1889, author Oscar Wilde penned in The Decay of Lying that life imitates art. “The self-conscious aim of life is to find expression,” he wrote, “and art offers (life) certain beautiful forms through which it may realise that energy.” According to Wilde, what we find in nature and in life isn’t really there, and that what we do find is what artists have taught people to find there, through art. So does art imitate life, or does life imitate art? And under this questioning, does art have the ability to predict the future? “Artists often channel the JAMES FUENTES future,” art critic Jerry Saltz told Vulture in 2017, ”seeing patterns before they form and putting them in their work, so that later, in hindsight, the work explodes like a time bomb.” This is a debate that can reach existential degrees. Take the fatalists, for example, who wonder if isolated traumatic events can somehow send echoes backwards and forwards in time to generate recurring themes across art-history, while others argue that we project our modern-day anxieties onto what we want to see in the past, therefore creating what is seen as a prediction of the future. But either way, there are quite a few artworks that make a strong case for art’s ability to predict the future.
[Show full text]
Narcissus and Echo Rosemary Barrow
20 Narcissus and Echo Rosemary Barrow Echo: See Narcissus In 1937 Salvador Dali painted what was to become one of his most acclaimed works, Metamorphosis of Narcissus. The previous year his fellow surrealist Max Ernst produced the less well known The Nymph Echo (Figure 20.1). Surrealists saw in classical myth a vehicle for the dream‐like free association of objects, below the level of rational consciousness, which their reading of reality calls for. Hence the case in Dali’s painting. Two Narcissus figures are set in a fan- tasy landscape of red cliffs and volcanic sky: the first is a kneeling sculpture with a faceless head looking at his reflection and the second a bodiless hand holding an egg from which the narcissus flower grows. While Echo is absent from Dali’s pic- ture, she is the title figure in Ernst’s The Nymph Echo. The setting here, fantastical once again, consists of monstrous vegetation that serves to camouflage a small standing nude – Echo – in the top right‐hand corner of the canvas. The contrasting reputations of these works by Dali and Ernst (and indeed the unobtrusive presence of the nymph in Ernst’s canvas) mirror much of the reception of Narcissus and Echo. Echo is taken to be of secondary importance. In Reid’s Oxford Guide to Classical Mythology in the Arts (1993), representatively, she is listed in the index, simply: “See Narcissus.” Narcissus, the beautiful boy who falls in love with his own reflection, engenders a copious tradition in post‐classical art, literature, and thought. Son of the river god Cephissus and the nymph Liriope, Narcissus grows up be a handsome youth who rejects his many suitors.
[Show full text]
The Mirror in Art: Vanitas, Veritas, and Vision
Studies in 20th & 21st Century Literature Volume 34 Issue 2 Reflections and Refractions: The Mirror Article 7 in Russian Culture 6-1-2010 The Mirror in Art: Vanitas, Veritas, and Vision Helena Goscilo The Ohio State University Follow this and additional works at: https://newprairiepress.org/sttcl Part of the Slavic Languages and Societies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Goscilo, Helena (2010) "The Mirror in Art: Vanitas, Veritas, and Vision," Studies in 20th & 21st Century Literature: Vol. 34: Iss. 2, Article 7. https://doi.org/10.4148/2334-4415.1733 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th & 21st Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. The Mirror in Art: Vanitas, Veritas, and Vision Abstract Humankind’s venerable obsession with the mirror, traceable to the ancient myths of Medusa and Narcissus, is copiously attested in Western art, which historically relied on the mirror as both practical tool and polysemous trope. While the mirror’s reflective capacities encouraged its identification with the vaunted mimetic function of literature and film, its refractive quality enabled artists to explore and comment on perspective, in the process challenging the concept of art’s faithful representation of phenomena. My radically compressed and selective overview of the mirror’s significance in esternW iconography focuses primarily on visibility, gaze, and gender, dwelling on key moments and genres that most vividly illustrate the paradoxes of the mirror as both symbol and utilitarian object.
[Show full text]
Presentation
PRESENTATION INSIDE THE ART OF CARAVAGGIO Stefano Fomasi – The Fake Factory Immersive Art uses digital technologies, video, music, sound and also fragrance in this case to immerse and involve the viewer in a complete emotional experience. One of the hallmarks of Caravaggio’s art is in any case his constant striving to break down the barrier between painted and real space so as to secure the viewer’s utmost involve- ment. Accordingly, the immersive video installation presented thus seeks to bridge the gap between painting and public by trans- porting the viewer literally inside the space created by the artist. In order to accentuate the immersive quality of the experi- ence, use is made of graphic and cinematographic animation techniques that invite the public to take an emotive plunge into pure vision. LIGHT God said Let there be light: and there was light. (Genesis 1,3) Caravaggio revolutionized the use of light in painting by in- venting a completely new compositional, structural and symbol- ic function for it. Light is the element that reveals reali- ty, bringing it to life before our eyes. It is this quest that led the young Caravaggio to paint the Calling of St Matthew. A revolutionary work in terms of compositional style and mean- ing. A new way of perceiving space emotively: the earthly ges- ture of Christ and the divine light streaming from behind him. All the figures seated at the table are illuminated but Matthew alone perceives the glow and knows that he has been called. He points to himself to indicate his awareness that the light of God is shining on him.
[Show full text]
P Re Sse Rele a Se
Presse release Presse Potsdam, July 11, 2019 Baroque Pathways: The National Galleries Barberini Corsini in Rome July 13 to October 6, 2019 From July 13 to October 6, 2019, the Museum Barberini is presenting its ﬁrst old master exhibition: Baroque Pathways: The National Galleries Barberini Corsini in Rome showcases 54 masterpieces from the collections of the Palazzo Barberini and the Galleria Corsini in Rome, among them an early work by Caravaggio, his painting Narcissus of 1597–1599. Tracing the birth of Roman Baroque painting in the wake of Caravaggio, its spread through Europe and development north of the Alps and in Naples, the exhibition explores the role of the Barberini as patrons of the arts and the Prussian kings’ yearning for Italy. The Barberini at the Barberini A selection of 54 masterpieces from the collections of the Palazzo Barberini and the Galleria Corsini has traveled from Rome to Potsdam. The Palazzo Barberini, the architectural inspiration for the Barberini Palace in Potsdam, holds one of the world’s most important collections of baroque paintings. Together with the Galleria Corsini, it is home to the Italian national galleries. Ortrud Westheider, Director of the Museum Barberini: “It is a great honor and a mark of recognition for the still young Museum Barberini to cooperate with the illustrious national galleries. It has always been our dream to collaborate on an exhibition with our renowned namesake in Rome.” Flaminia Gennari Santori, Director of the Gallerie Nazionali di Arte Antica, Rome: “We are delighted to present our museum and a part of our collection in Potsdam, a city with so many points of contact with the art and architecture of Rome.” Pietro da Cortona’s monumental ceiling fresco from the Gran Salone of the Palazzo Barberini welcomes visitors to the Potsdam exhibition in form of a ceiling projection.
[Show full text]
INTRODUCTION Between 1600 and 1650 a Surprisingly Novel Kind of Art Evolved in Rome
INTRODUCTION Between 1600 and 1650 a surprisingly novel kind of art evolved in Rome. The favourable economic situation – Catholic reform was 400 on the advance, ensuring plentiful commis- sions from ecclesiastical quarters – attracted artists from other regions of Italy as well as from France and the Low Countries. With- in a very short space of time the papal city transformed itself into an artistic centre of almost irresistible influence. The art of this time was marked by a hitherto unprecedent- ed visual munificence, a lively mixture of realism and imagination, and not least by a highly emotional character. It all began around the year 1600, when the Milanese artist Michelangelo Merisi da Cara- vaggio (1571–1610) created a furore with his paintings in Rome. With their thrilling nat- uralism, dramatic use of light and shade (chiaroscuro) and powerful narrative structure, Caravaggio’s works represent a caesura in the history of European painting. A younger generation of artists with an international out- look – today referred to as the Caravaggists – adopted his radical style of painting, dissemin- ating it across large parts of Italy and the rest of Europe. Only a few years after Caravaggio’s death the Neapolitan-born artist Gian Lorenzo Bernini (1598–1680) entered the Roman art scene, quickly rising to become its new star. The exhibition is divided into sections His figures were imbued with passionate according to concepts that were common movement from the start. He visualized even in contemporary discourse about art: mera- invisible forces, not least those of the psyche, viglia & stupore (wonderment & astonish- by painterly use of light and moving drapery.
[Show full text]
Nicolas Poussin's Realm of Flora
NICOLAS POUSSIN’S REALM OF FLORA: PAINTED POETRY IN SEVENTEENTH-CENTURY ROME by AMY MARIE COSTRINI (Under the Direction of Shelley Zuraw) ABSTRACT In Nicolas Poussin’s painting of the Realm of Flora in Dresden, the artist reinterprets Ovidian mythology in a manner inspired by the contemporary poetry of Giambattista Marino. The influence of Marino’s refashioning of Ovidian poetry can also be seen in Gianlorenzo Bernini’s sculpture of Apollo and Daphne in the Galleria Borghese and Caravaggio’s painting of Narcissus in the Palazzo Corsini, Rome. However, only Poussin was inspired by the poetry of Marino to create his own visual poetry. As a result, the Realm of Flora is an invention of the artist’s own mind, drawn from Ovidian mythology, composed according to the poetic theory of the modes, and guided by the principles of Marino’s lyric poetry. This close examination of the Realm of Flora reveals the painting to be an example of painted poetry by Nicolas Poussin. INDEX WORDS: Poussin, Realm of Flora, Kingdom of Flora, Marino, poetry, modes, Bernini, Apollo and Daphne, Caravaggio, Narcissus NICOLAS POUSSIN’S REALM OF FLORA: PAINTED POETRY IN SEVENTEENTH-CENTURY ROME by AMY MARIE COSTRINI B.A., Duke University, 1999 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2003 © 2003 Amy Marie Costrini All Rights Reserved NICOLAS POUSSIN’S REALM OF FLORA: PAINTED POETRY IN SEVENTEENTH-CENTURY ROME by AMY MARIE COSTRINI Major Professor: Shelley Zuraw Committee: Andrew Ladis Alisa Luxenberg Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia December 2003 iv ACKNOWLEDGEMENTS I would first like to thank Dr.
[Show full text]
Articulating Desire Leonie Watson University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2012 Articulating desire Leonie Watson University of Wollongong Recommended Citation Watson, Leonie, Articulating desire, Doctor of Creative Arts thesis, Faculty of Creative Arts, University of Wollongong, 2012. http://ro.uow.edu.au/theses/3806 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Articulating desire A thesis submitted in partial fulfilment of the requirements for the award of the degree Doctor of Creative Arts from University of Wollongong by Leonie Watson, B. Sc. (Hons), BCA, MCA (Research) Faculty of Creative Arts 2012 CERTIFICATION I, Leonie Watson, declare that this thesis, submitted in partial fulfilment of the requirements for the award of Doctor of Creative Arts, in the Faculty of Creative Arts, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Leonie Watson Articulating desire Contents List of Figures iv Abstract viii Acknowledgements ix Introduction 1 Chapter One: Symbolic, Psychological, Material 8 Chapter Two: Close Encounters 17 Jusepe de Ribera Martyrdom of St. Lawrence 1620-24 19 Michelangelo Merisi da Caravaggio St John the Baptist in the Wilderness c.1604 23 Artemisia Gentileschi Judith Slaying Holofernes 1612-13 27 Rembrandt Harmensz.
[Show full text]
Caravaggio: a Contemporary View
Studio International, 1983, Volume 196 Number 998 Caravaggio: a contemporary view John Berger Once I was asked to name my favourite painter. I hesitated, searching for the least knowing, most truthful answer. 'Caravaggio'. There are nobler painters and painters of greater breadth of vision. There are painters I admire more and who are more admirable. But there is none, so it seems — for the answer came unpremeditated — to whom I feel closer. The few canvases from my own incomparably modest life as a painter, which I would like to see again, are those I painted in the late ‘40s of the streets of Livorno. This city was then war-scarred and poor, and it was there that I first began to learn something about the ingenuity of the dispossessed. It was there too that I discovered that I wanted as little as possible to do in this world with those who wield power. This has turned out to be a life-long aversion. The complicity I feel with Caravaggio began, I think, during that time in Livorno. He was the first painter of life as experienced by the popolaccio, the people of the back streets, les sans-culottes, the lumpenproletariat, the lower orders, those of the lower depths, the underworld. Interestingly enough, there is no word in any traditional European language which does not either denigrate or patronise the urban poor it is naming. That is power. Following Caravaggio up to the present day, other painters — Brower, Ostade, Hogarth, Goya, Gericault, Gultuso — have painted pictures of the same social milieu.
[Show full text]