Rosella Vodret of Rome's Museums Authority speaks concerning the "Martyrdom of St. Lawrence" in Rome
The Vatican’s top art historian has shot down a written report in its own newspaper that suggested a recently discovered painting would be a Caravaggio.
The pinnacle of the Vatican Museums, Antonio Paolucci, wrote in the Vatican newspaper L’Osservatore Romano that the work was probably a duplicate of the original by way of a Caravaggio-influenced artist.
L’Osservatore set the art world aflutter a week ago having a front-page article headlined A New Caravaggio detailing the artistry behind the Martyrdom of St. Lawrence, which in fact had been discovered within the sacristy of the Jesuit church in Rome.
Mcdougal want to know,, art historian Lydia Salviucci Insolera, had made clear that she had not been coming to a conclusions concerning the authenticity with the work understanding that more tests were required.
But the impression provided by the newspaper was that the painting was indeed a never-before-seen Caravaggio: The definitive-sounding headline appeared alongside a colour photograph from the dramatic painting - about the 400th anniversary to the day of the master’s death.
The initial Caravaggio article published on June 18 pointed out that the The Martyrdom of St. Lawrence presented features usual for the artist’s painting techniques, such as the utilization of chiaroscuro for dramatic effect as well as the unique perspective where the subject is seen. The report also highlighted similarities along with other Caravaggio’s paintings, for example within the saint’s hand and body movement.
But on Monday Paolucci wrote how the work had not been of Caravaggio’s quality and termed it “modest” at best, mentioning in particular the hands were completely from perspective.
The painting depicts a semi-naked child, his mouth open in desperation, one arm extended while he leans over amid flames. St. Lawrence was burned to death in 258.
Paolucci said that as the notion of putting St. Lawrence around the grill where he became a martyr was dramatically beautiful, and also the thugs perpetrating his martyrdom are suggestive of Caravaggio’s themes, a close look reveals stylistic shortcomings.
He explained that the hands are “wrong inside their perspective” as well as the subjects’ anatomies were “awkward”. He also noted the painting technique was “inadequate”.
“The quality isn’t there, whereas inside a Caravaggio it always is, and it’s high even when … he uses maximum carelessness and a the least his expressive resources,” Paolucci wrote.
He stressed which he wasn’t criticizing Insolera and noted that she had correctly made clear that further analysis and documentation would be needed to provide definitive answers whether or not the work would be a Caravaggio.
The art painting techniques are to be unveiled towards the public on Tuesday by Italy’s Culture Ministry.
Caravaggio died in the Tuscan coast capital of scotland - Porto Ercole in 1610 at age 39 under mysterious circumstances. He had been hugely influential and famous, but had also led a dissolute lifetime of street brawls and alcohol.
Recently, a team of Italian researchers said they had identified Caravaggio’s remains after a year of digging up bones in Porto Ercole and conducting carbon dating, Paternity testing along with other analysis.
Italy may be marking the anniversary with a number of events, plus an exhibit in Rome earlier this year drew more than half one million visitors.
The Vatican’s top art historian has shot down a written report in its own newspaper that suggested a recently discovered painting would be a Caravaggio.
The pinnacle of the Vatican Museums, Antonio Paolucci, wrote in the Vatican newspaper L’Osservatore Romano that the work was probably a duplicate of the original by way of a Caravaggio-influenced artist.
L’Osservatore set the art world aflutter a week ago having a front-page article headlined A New Caravaggio detailing the artistry behind the Martyrdom of St. Lawrence, which in fact had been discovered within the sacristy of the Jesuit church in Rome.
Mcdougal want to know,, art historian Lydia Salviucci Insolera, had made clear that she had not been coming to a conclusions concerning the authenticity with the work understanding that more tests were required.
But the impression provided by the newspaper was that the painting was indeed a never-before-seen Caravaggio: The definitive-sounding headline appeared alongside a colour photograph from the dramatic painting - about the 400th anniversary to the day of the master’s death.
The initial Caravaggio article published on June 18 pointed out that the The Martyrdom of St. Lawrence presented features usual for the artist’s painting techniques, such as the utilization of chiaroscuro for dramatic effect as well as the unique perspective where the subject is seen. The report also highlighted similarities along with other Caravaggio’s paintings, for example within the saint’s hand and body movement.
But on Monday Paolucci wrote how the work had not been of Caravaggio’s quality and termed it “modest” at best, mentioning in particular the hands were completely from perspective.
The painting depicts a semi-naked child, his mouth open in desperation, one arm extended while he leans over amid flames. St. Lawrence was burned to death in 258.
Paolucci said that as the notion of putting St. Lawrence around the grill where he became a martyr was dramatically beautiful, and also the thugs perpetrating his martyrdom are suggestive of Caravaggio’s themes, a close look reveals stylistic shortcomings.
He explained that the hands are “wrong inside their perspective” as well as the subjects’ anatomies were “awkward”. He also noted the painting technique was “inadequate”.
“The quality isn’t there, whereas inside a Caravaggio it always is, and it’s high even when … he uses maximum carelessness and a the least his expressive resources,” Paolucci wrote.
He stressed which he wasn’t criticizing Insolera and noted that she had correctly made clear that further analysis and documentation would be needed to provide definitive answers whether or not the work would be a Caravaggio.
The art painting techniques are to be unveiled towards the public on Tuesday by Italy’s Culture Ministry.
Caravaggio died in the Tuscan coast capital of scotland - Porto Ercole in 1610 at age 39 under mysterious circumstances. He had been hugely influential and famous, but had also led a dissolute lifetime of street brawls and alcohol.
Recently, a team of Italian researchers said they had identified Caravaggio’s remains after a year of digging up bones in Porto Ercole and conducting carbon dating, Paternity testing along with other analysis.
Italy may be marking the anniversary with a number of events, plus an exhibit in Rome earlier this year drew more than half one million visitors.
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