Recounts the complex history of this understudied masterwork and its important, and influential, position in Caravaggio's oeuvre.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Erin E. Benay is Climo Junior Professor of Renaissance and Baroque Art, Department of Art History, Case Western Reserve University, OH.
Inhaltsangabe
Director's Foreword 1. Acknowledgments 2. 1 Preface: Why Caravaggio? 3. Introduction 4. Part I. Caravaggio in Spanish Naples 5. Becoming Caravaggio 6. Martyring Saint Andrew 7. Caravaggio and the Myth of Naples 8. From Court to Cult: Viceregal Patronage in Seventeenth-Century Naples 9. Part II. From Naples to Valladolid 10. Collecting Caravaggio in Spain 11. Painting Caravaggio: Technique and Conservation in the Crucifixion of Saint Andrew 12. Authentic Replicas 13. Conclusion: Mobility and Stasis in the Art of Caravaggio 14. Notes 15. Bibliography 16. Photo Credits 17. The Cleveland Museum of Art Board of Trustees
Director's Foreword 1. Acknowledgments 2. 1 Preface: Why Caravaggio? 3. Introduction 4. Part I. Caravaggio in Spanish Naples 5. Becoming Caravaggio 6. Martyring Saint Andrew 7. Caravaggio and the Myth of Naples 8. From Court to Cult: Viceregal Patronage in Seventeenth-Century Naples 9. Part II. From Naples to Valladolid 10. Collecting Caravaggio in Spain 11. Painting Caravaggio: Technique and Conservation in the Crucifixion of Saint Andrew 12. Authentic Replicas 13. Conclusion: Mobility and Stasis in the Art of Caravaggio 14. Notes 15. Bibliography 16. Photo Credits 17. The Cleveland Museum of Art Board of Trustees
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