Some Seventeenth-Century Appraisals of Caravaggio's Coloring Author(s): Janis C. Bell Source: Artibus et Historiae, Vol. 14, No. 27 (1993), pp. 103-129 Published by: IRSA s.c. Stable URL: https://www.jstor.org/stable/1483447 Accessed: 01-04-2019 18:32 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
[email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms IRSA s.c. is collaborating with JSTOR to digitize, preserve and extend access to Artibus et Historiae This content downloaded from 79.131.76.118 on Mon, 01 Apr 2019 18:32:01 UTC All use subject to https://about.jstor.org/terms JANIS C. BELL Some Seventeenth-Century Appraisals of Caravaggio's Coloring Introduction the history of painting in Rome in the late Cinquecento, he contrasted the "weak and whitewashed" coloring of the Writing less than a decade after Caravaggio's death, Giulio Mannerists and the "immaginary and faint" colors of Giuseppe Mancini opened his biography of the artist with a statement Cesari d'Arpino with Caravaggio's "real and true-to-life" colo- about the importance of Caravaggio's color: "Our age owes ration (reale e vero).5 Clearly, Caravaggio's coloring was one much to Michelangelo da Caravaggio for the coloring (colorir) of the principal features of his art, perhaps the most signifi- that he introduced, which is now widely followed."' While the cant.