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Utrecht, Caravaggio, and the Body Sonia Loredana Del Re Department of Art History and Communication

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Utrecht, Caravaggio, and the Body Sonia Loredana Del Re Department of Art History and Communication Re-forming Images: Utrecht, Caravaggio, and the Body Sonia Loredana Del Re Department of Art History and Communication Studies McGill University, Montreal October 2013 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Sonia Loredana Del Re, 2013 Re-forming Images Sonia Loredana Del Re Table of Contents Re-forming Images: Utrecht, Caravaggio, and the Body Abstract English 3 French 5 Acknowledgments 7 List of Figures 9 Introduction 18 I. The Powers of Caravaggistic Bodies 26 II. “Theatre of Repetition”: Towards an Epistemology of Caravaggism 31 III. Form and Identity 34 IV. Parameters of the study 37 Chapter One Utrecht to Rome and Back: Mobile Identities in Utrecht Caravaggism and Some Antecedents 49 I. Introduction 49 II. Jan Gossart: From the Colosseum to the Castle of the Bishop of Utrecht 56 III. Jan van Scorel, Painter and Ecclesiastic, and a Dutch Papal Connection 62 IV. Abraham Bloemaert and the Blooming of the Utrecht School of Painting 70 V. Baburen, Honthorst and Terbrugghen: Protagonists of Caravaggism in Rome 81 VI. Conclusion: The Crisis of the Image 97 Chapter Two Bodies in Flux: Corporeality in Caravaggistic History Painting 102 I. Introduction 102 II. The Theatre of Rome: The City, the Body, and Empirical Realism 107 III. The Body Between Naturalism and Performativity in Caravaggio’s Art 115 IV. Death of the Virgin: “A Bloated Madonna” 130 V. Mutations: Early Responses of the Utrecht Caravaggists 146 VI. Conclusion 159 1 Re-forming Images Sonia Loredana Del Re Chapter Three Embodiment and Performance in Caravaggistic Secular Narrative 163 I. Introduction 163 II. In Bacchus’ Disguise: Caravaggio’s Half-Length Male Youths 168 III. Sleight of Hand: Serio-Comic Trickery in Caravaggio’s Fortune Teller and Cardsharps 174 IV. Freaks of Nature: Caravaggio’s Musical Performers and the Lyricism of Marginality 186 V. ‘Ne coscie ne gambe:’ Anatomy of a Crippled Narrative 197 VI. Conclusion 213 Chapter Four The Usual Suspects: Re-staging Caravaggistic Archetypes in Utrecht 216 I. Introduction 216 II. Rehearsing Real Life: Turning Gods into Drinkers, Castrati into Street Musicians and Saints into Whores 218 III. Recast: Caravaggistic Half-Figures in Print 235 IV. ‘Ik sing op mijn manier’: Transformation through Versification 250 V. Conclusion 258 Conclusion 262 Appendix 269 I. Utrecht and Caravaggistic Prints 269 II. Catalogue of Utrecht Caravaggistic Half-Figured Secular Prints 272 Figures 293 Works Cited 351 2 Re-forming Images Sonia Loredana Del Re Abstract This dissertation argues for a reconsideration of the function of bodies in Caravaggistic painting, and in Utrecht Caravaggism more particularly. It examines the role of the human figure in the work of Caravaggio and the Utrecht Caravaggists in light of the distinct narrative mode within which Caravaggistic painting operates. The issues explored in this dissertation formulate a response to seventeenth-century criticism regarding the treatment of bodies in Caravaggistic pictures, and the purported loss of narrative meaning. This study thus describes how Caravaggistic bodies perform and enact narrative in a way that subverts normative forms of visual narration in Italian Renaissance and Baroque art. The project as a whole aims to provide a counterpart to our understanding of Caravaggism as a style founded on contrasts of light and dark and realistic representation. I move away from thinking about these characteristics as stylistic choices, and consider them instead as narrative means that are meant to highlight the performative function of bodies in creating narrative content. My study draws on forms of entertainment to illustrate how the human figure, through performance, both produces significations and engages beholders in narrative processes. Another objective of this project is to underline identity as a key factor in the shaping of Utrecht Caravaggism, as well as an important agent in Caravaggistic narrative. On the one hand, I explain in what ways Caravaggism renews a relationship between the cities of Rome and Utrecht that was so important to the visual and artistic identity of Utrecht in the sixteenth and 3 Re-forming Images Sonia Loredana Del Re seventeenth centuries. On the other hand, my work shows how identity functions within Caravaggistic painting as a pictorial and rhetorical device. To this end, Chapters Three and Four map out a new vision of the relationship between Caravaggistic painting and viewers by focusing on the mode of address employed by Caravaggistic half-length figural painting. Hence, my approach to the subject of bodies and performance in Caravaggism posits narrative not simply as a visual form but as a site between representations and viewers. Within this contiguous space, pictorial bodies and identities and their equivalent in the real world become imbricated. My interpretation of Caravaggistic painting, and of Utrecht Caravaggism more precisely, therefore seeks to reconcile a pictorial mode that appears to negate space and time with narrative invention and intention. 4 Re-forming Images Sonia Loredana Del Re Résumé Cette thèse propose de reconsidérer la fonction du corps humain dans la peinture caravagiste et, plus particulièrement, dans le Caravagisme utrechtois. Elle examine le rôle de la figure humaine dans l’œuvre de Caravage et dans l’œuvre des Caravagistes d’Utrecht compte tenu du mode de narration distinct qu’emploie la peinture caravagiste. Les thèmes envisagés ici sont inspirés par les critiques émises au dix-septième siècle au sujet de la représentation du corps humain dans la peinture caravagiste et selon lesquelles celle-ci nuit à la fonction narrative de la peinture. Cette étude décrit comment l’approche caravagiste subvertit les règles albertiennes de narration en refusant de situer les représentations dans le temps et dans l’espace, et en se concentrant de préférence sur la figure humaine, qu’elle met en avant-plan. De façon générale, ce projet offre une interprétation complémentaire à la conception du Caravagisme en tant que style préconisant les vifs contrastes de lumière et le réalisme pictural. Plutôt que d’envisager ces traits caractéristiques comme choix stylistiques, ils sont ici considérés pour leur capacité à souligner la fonction narrative du corps humain. Afin de mettre en évidence le rôle performatif de la figure humaine dans la narration figurative, cette étude s’appuie, entre autres, sur l’examen de formes contemporaines de divertissement. Cette approche permet de retracer les processus narratifs que la figure humaine engendre dans la peinture caravagiste et qui impliquent le spectateur dans la création de sens. Cette thèse a pour autre objectif de souligner un facteur clé dans l’essor du Caravagisme à Utrecht: la notion d’identité. Cette dernière revêt un intérêt 5 Re-forming Images Sonia Loredana Del Re particulier pour cette étude parce qu’elle joue également un rôle essentiel au sein du développement narratif dans la peinture caravagiste. Les chapitres qui suivent révèlent, d’abord, que le caravagisme permet de renouer les relations entre Rome et Utrecht qui furent indispensables à la constitution d’une identité visuelle et artistique pour Utrecht aux seizième et dix-septième siècles. Ensuite, ils démontrent l’utilisation de la notion d’identité comme dispositif pictural et rhétorique dans la peinture caravagiste. À cette fin, les troisième et quatrième chapitres dressent un nouveau portrait des liens que la peinture caravagiste cherche à tisser avec ses spectateurs. Typiquement caravagesques, les personnages grandeur nature, représentés à mi-corps attirent particulièrement l’attention des observateurs. La façon dont ils s’adressent aux spectateurs constituent donc le sujet de ces deux derniers chapitres. Les thèmes de la corporalité et de la théâtralité dans l’art caravagiste demandent d’envisager la narration non pas uniquement comme forme visuelle, mais aussi comme lieu d’échange entre image et spectateur. Les corps dépeints sont souvent poussés aux confins de l’espace pictural de sorte que la fiction s’imbrique avec la réalité. Ainsi, cette thèse souhaite expliquer que ce mode pictural qui semble vouloir nier l’espace et le temps met en branle sa propre méthode narrative par laquelle le spectateur est appelé à participer à la création de sens. 6 Re-forming Images Sonia Loredana Del Re Acknowledgements This project could not have been brought to fruition without the unswerving support and great scholarship of my thesis directors Dr. Angela Vanhaelen and Dr. Bronwen Wilson whose persistence is the cornerstone of this dissertation. Angela and Bronwen’s guidance has been instrumental, and my foremost gratitude goes to them for their immense generosity, care and acumen. Dank je! Grazie! I would also like to offer my special thanks to Dr. Chriscinda Henry for her interest and attentiveness during the last months of writing. Thanks are also due to the indefatigable Maureen Coote for her administrative support. I am indebted to the Fond québécois de recherche société et culture, Making Publics: Media, Markets and Association in early modern Europe, 1500– 1700, the Bram Garber Fellowship in Art History, the Department of Art History and Communication Studies at McGill University, and Forms of Conversion: Religion, Culture, and Cognitive Ecologies in Early Modern Europe and its Worlds. The financial support they provided made this project possible. I wish to acknowledge the kind assistance of the staff at several institutions in the Netherlands including the Rijksmuseum and Rijksprentenkabinet (Amsterdam), Rijksbureau voor Kunsthistorische Documentatie (The Hague), Atlas van Stolk (Rotterdam), Centraal Museum (Utrecht), and Museum Catharijneconvent (Utrecht). This dissertation is dedicated to my devoted parents Donato Del Re and Filomena Iannelli in recognition of all their love and constant encouragement. I thank them for instilling in me the value of education and hard work. 7 Re-forming Images Sonia Loredana Del Re To my partner and better half, Sheldon Nimijean, this lengthy and difficult journey was made more bearable by your smile, your love, your undivided attention and solicitude.
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