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"Gérard Seghers (1591-1651), à l'instar de Pierre-Paul Rubens et Anton Van Dyck, eut une carrière artistique prestigieuse. Peintre d'histoire, ses grands tableaux ont su attirer à lui une clientèle aisée, aussi bien privée que publique. De nombreux musées dans le monde et en France conservent ses oeuvres (Washington, Vienne, Rome, Madrid, Paris, Lille, Nancy, Reims, Bordeaux, Arras, Nîmes...). L'originalité de sa peinture repose sur le subtil accord de deux styles distincts : le Maniérisme du XVIe siècle et le Caravagisme qui lui était contemporain. Les exemples les plus frappants se trouvent dans ses réalisations exécutées au retour de son voyage artistique en Italie et en Espagne, après i6zo. Première rétrospective consacrée à Gérard Seghers, l'exposition au musée des Beaux-Arts de Valenciennes se donne pour but l'analyse de cette période (1620-1630), probablement la plus créatrice du peintre anversois. Anne Delvingt a consacré sa thèse de doctorat à Gérard Seghers. Elle livre ici une biographie de l'artiste et un texte sur ses années de formation à Anvers et son voyage à Rome (entre 16n et 1620). Elle expose la pénétra-tion du Caravagisme en Flandre et la manière très originale dont Seghers l'a pratiqué. Elle envisage ensuite les rapports du peintre avec la cour de Bruxelles et les Archiducs. Elle traite des dessins de Seghers, très rares chez cet artiste. Les notices du catalogue détaillent les oeuvres exposées, dont certaines sont inédites." P. [4] of cover.

Art --- Seghers, Gerard --- Painting, Flemish --- Peinture flamande --- Seghers, Gerard, --- Caravaggisme --- maniërisme --- Exhibitions --- Mannerism (Art) --- Influence --- Caravaggio, Michelangelo Merisi da, --- Seegers, Gerard, --- Segers, Gerard, --- Zegers, Gerard, --- Zeghers, Gerard, --- Karavadzho, Mikelʹandzhelo da, --- Merizi, Mikelʹandzhelo, --- Merisi, Michelangelo, --- Amerighi, Michelangelo, --- Caravaggio, --- Merisio, Michelangelo, --- Da Caravaggio, Michelangelo Merisi, --- Merisi da Caravaggio, Michelangelo, --- Caravage, --- Merisi, Michelange, --- Caravage, Michelange de, --- Caravaggi, M. de --- קרוואג׳יו --- caravaggisme --- caravaggisme. --- maniërisme. --- Seghers, Gerard.

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Painting --- Caravaggism --- Caravaggio --- Kunsthistorisches Museum [Vienna] --- anno 1600-1699 --- Europe --- Painting, Baroque --- Painting, European --- Baroque painting --- Paintings, Baroque --- European painting --- Caravaggio, Michelangelo Merisi da, --- Karavadzho, Mikelʹandzhelo da, --- Merizi, Mikelʹandzhelo, --- Merisi, Michelangelo, --- Amerighi, Michelangelo, --- Caravaggio, --- Merisio, Michelangelo, --- Da Caravaggio, Michelangelo Merisi, --- Merisi da Caravaggio, Michelangelo, --- Caravage, --- Merisi, Michelange, --- Caravage, Michelange de, --- Caravaggi, M. de --- קרוואג׳יו --- Influence --- Kunsthistorisches Museum Wien --- invloed van Italiaanse school

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Painting --- Graphic arts --- Music --- music [performing arts] --- Caravaggism --- anno 1500-1599 --- anno 1600-1699 --- Netherlands --- Musical instruments in art --- Musicians in art --- Painting, Dutch --- Dutch painting --- Caravaggio, Michelangelo Merisi da, --- Karavadzho, Mikelʹandzhelo da, --- Merizi, Mikelʹandzhelo, --- Merisi, Michelangelo, --- Amerighi, Michelangelo, --- Caravaggio, --- Merisio, Michelangelo, --- Da Caravaggio, Michelangelo Merisi, --- Merisi da Caravaggio, Michelangelo, --- Caravage, --- Merisi, Michelange, --- Caravage, Michelange de, --- Caravaggi, M. de --- קרוואג׳יו --- Influence. --- music [performing arts genre] --- Nederlandse school

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Caravaggio, da, Michelangelo M. --- Painting, Italian --- Peinture italienne --- Caravaggio, Michelangelo Merisi da, --- Art patronage --- -#gsdbA --- Michelangelo da Caravaggio 1571-1610 (°Caravaggio, bij Milaan) --- Schilderkunst ; Italië ; Barok ; Caravaggio --- 75.07 --- Arts patronage --- Business patronage of the arts --- Corporations --- Maecenatism --- Patronage of art --- Art and industry --- History --- -Schilderkunst ; schilders --- Caravaggio, Michelangelo Merisi da --- -Criticism and interpretation --- Theses --- Criticism and interpretation. --- Caravaggio --- #gsdbA --- Schilderkunst ; schilders --- Karavadzho, Mikelʹandzhelo da, --- Merizi, Mikelʹandzhelo, --- Merisi, Michelangelo, --- Amerighi, Michelangelo, --- Caravaggio, --- Merisio, Michelangelo, --- Da Caravaggio, Michelangelo Merisi, --- Merisi da Caravaggio, Michelangelo, --- Caravage, --- Merisi, Michelange, --- Caravage, Michelange de, --- Caravaggi, M. de --- קרוואג׳יו --- CDL --- 75.071 CARAVAGGIO --- iconografie. --- christelijke kunst. --- Caravaggio. --- 16de eeuw. --- 17de eeuw. --- Rome.

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A very important part of Caravaggios production consists of pictorial narratives, mostly religious. Thus, according to early modern aesthetics, Caravaggio practiced the artistic genre of the istoria: the most discussed and thoroughly defined pictorial institution of his time. Unanimously, seventeenth-century artists and art theorists censored and condemned Caravaggios art for its numerous deficiencies and faults in regard to the principles of the istoria. In spite of all these testimonies, Caravaggios innovations in and misuses of the techniques specific to early modern pictorial narrative have never been systematically studied, debated, and put into historical perspective. In this volume, Lorenzo Pericolo argues that Caravaggios multiple experimentations with the traditional devices of the istoria not only represent the core of an unprecedented "poetics of dislocation," but also unsettled, dismantled, and expanded the scope of pictorial narrative in ways that would have redefined and deeply transformed the concept of painting and artistic creation, had Caravaggios enterprise not have been ferociously criticized and stigmatized as both aberrant and defective. To solidly establish the importance and groundbreaking charge of Caravaggios work, Pericolo examines the notion of Leon Battista Albertis istoria as interpreted and developed by early modern artists and theoristsfrom Leonardo to Vasari, from Lomazzo to Poussin, and from Michelangelo to Belloriin vast surveys in which the concepts of diachrony, duration, eurythmy, propriety, verisimilitude, and pictorial truth among othersare carefully examined on a theoretical and practical level. By analyzing the paintings of Caravaggios followers such as Cecco del Caravaggio, Battistello Caracciolo, Valentin de Boulogne and, not least, Diego Velázquez, Pericolo explores how Caravaggios innovations in the domain of pictorial narrative were variously construed, elaborated upon, and brought to fruition in the aftermath of the masters death in 1610, thereby offering a critical explanation of the implosion and extinction of the Caravaggesque movement in the 1630s. Among the flood of recent books devoted to Caravaggio, whose popularity now stands at the zenith, Lorenzo Pericolos profound and passionate study stands out for its sensitive and learned presentation of an argument that is both historically true and critically revealing to present-day sensibilities. Thoroughly at home in the vast literature devoted to Baroque art in general and to Caravaggio in particular, Pericolo also brings to his subject an unrivaled understanding of modern theoretical techniques on the one hand, and, on the other, an unrivaled mastery of seventeenth-century artistic theory, profoundly based in Aristotelian poetics and in rhetorical techniques. Through extended close readings of Caravaggios paintings, arranged in roughly chronological order, Pericolo brilliantly teases out the theoretical and practical choices that confronted Caravaggio, and that further determined reception of his work, both in the positive and negative senses, by highly sophisticated contemporary audiences. Beyond this, Pericolo is a remarkably sensitive guide to Caravaggios expression of profound, wrenching and often painful, emotions caught in eternal suspension, the sources of both his contemporaries discomfort and our own, modern, recognition and appreciation. Truly a distinguished achievement, this book is required reading for general readers as well as specialists in the history of art.

istoria --- Caravaggio, da, Michelangelo M. --- Painters --- Painting, Italian --- Peintres --- Peinture italienne --- History. --- Histoire --- Caravaggio, Michelangelo Merisi da, --- Influence. --- Caravaggisme --- iconografie --- techniek --- Caravaggio --- Marino, Giovan Battista --- Titiaan --- Alberti, Leon Battista --- Velázquez, Diego --- Boulogne, Valentin de --- 16de eeuw --- 17de eeuw --- History --- Influence --- Caravage, Le --- Italian painting --- Karavadzho, Mikelʹandzhelo da, --- Merizi, Mikelʹandzhelo, --- Merisi, Michelangelo, --- Amerighi, Michelangelo, --- Caravaggio, --- Merisio, Michelangelo, --- Da Caravaggio, Michelangelo Merisi, --- Merisi da Caravaggio, Michelangelo, --- Caravage, --- Merisi, Michelange, --- Caravage, Michelange de, --- Caravaggi, M. de --- קרוואג׳יו --- Caravaggio, Michelangelo Merisi da --- Italy --- Painting [Italian ] --- caravaggisme --- Painters - Italy --- Painting, Italian - History --- Caravaggio, Michelangelo Merisi da, - 1573-1610 --- Caravaggio, Michelangelo Merisi da, - 1573-1610 - Influence --- caravaggisme. --- iconografie. --- techniek. --- Caravaggio. --- Marino, Giovan Battista. --- Titiaan. --- Alberti, Leon Battista. --- Velázquez, Diego Rodriguez de Silva y. --- de Boulogne, Valentin. --- 16de eeuw. --- 17de eeuw. --- istoria [critical concept] --- Velázquez, Diego Rodriguez de Silva y --- de Boulogne, Valentin