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You searched for subject:(Caravaggio Bildanalyse). One record found.

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Freie Universität Berlin

1. Wilkens, Albrecht. an innovation in sacred representation and it's development.

Degree: 2001, Freie Universität Berlin

Light in Caravaggio is not irrelevant to the meaning of a picture, but is accessible to an iconographic interpretation. Its meaning can be determined by considering the context in which it appears; by discussing its articulation which varies between the extremes of a hard grasp of the object and a sympathetic dwelling within the object, or rather, within matter. This can be demonstrated in the Berlin Amore vincitore. The extremes of lighting are the glaring light on the tablecoth and the soft light not heightened by reflexes in the musical instruments. The hard, detached light is metaphorical of the conquering Amor, whereas the soft variant stands for a mild, all-embracing Amor. In some of Caravaggio´s pictures, light with its varying articulation underlines the aspect of violence in the respective subject matter. In a highly significant passage of the Florence Sacrifice of Isaac, strong light hits the boy´s nude body which is threatened by the knife. Thus light creates the atmosphere of impending violence in an interplay with Abraham´s gesture and the hard contours. The foreground group as a whole is determined by strong light-and-shade contrasts, whereas in the background landscape, soft light spreads in space without casting hard shadows. Light is here understood to accentuate the motherly aspect of the landscape. By contrast against this soft chiaroscuro, the hard foreground lighting recalls the unreal aspect of mirroring. This is normally and by rights considered as heightening the realistic character of painting; in this context, however, it gives momentum to the unreal appearance of the scene brought about by the stress of aggression and fear. At closer inspection, however, it will be noticed that the violent dynamics of light affects the landscape, too. Light leaves some traces in it which are hardly recognizabe as real light phenomena and which point back to the knife in a strange arrangement. The Sacrifice of Isaac follows the demands of the Catholic dogma of sacrifice, but it does so only at a superficial level. It exposes the situation of sacrifice as one of horror and puts forward a radical criticism of sacrifice, pointing at eros as a force which is threatened by this institution and would eventually make sacrifice dispensable. Besides the Sacrifice of Isaac, the Capitoline St. John is interpreted in this sense. The Florence Sacrifice unfolds a conflict between the violence of sacrifice and a force of mediation which incorporates reason and love. This force is embodied by the angel, whose pointing hand epitomizes the dominating formal tendencies of the composition, thus making it clear that the composition is an integral part of the enacted drama. The variable articulation of light is also relevant in other iconographic contexts. The hard light variant hitting objects from outside is always on the side of a strong affect or of violence which transcends emotion. In the Potsdam Doubting Thomas the hard light is that of the disciple stubbornly seeking certainty by physical perception, and is contrasted by… Advisors/Committee Members: n (gender), Prof. Dr. Klaus Heinrich (firstReferee), Prof. Dr. Rudolf Preimesberger (furtherReferee).

Subjects/Keywords: Caravaggio Bildanalyse; 700 Künste und Unterhaltung::700 Künste::700 Künste, Bildende und angewandte Kunst

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APA (6th Edition):

Wilkens, A. (2001). an innovation in sacred representation and it's development. (Thesis). Freie Universität Berlin. Retrieved from https://refubium.fu-berlin.de/handle/fub188/10384

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16th Edition):

Wilkens, Albrecht. “an innovation in sacred representation and it's development.” 2001. Thesis, Freie Universität Berlin. Accessed January 25, 2020. https://refubium.fu-berlin.de/handle/fub188/10384.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7th Edition):

Wilkens, Albrecht. “an innovation in sacred representation and it's development.” 2001. Web. 25 Jan 2020.

Vancouver:

Wilkens A. an innovation in sacred representation and it's development. [Internet] [Thesis]. Freie Universität Berlin; 2001. [cited 2020 Jan 25]. Available from: https://refubium.fu-berlin.de/handle/fub188/10384.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Wilkens A. an innovation in sacred representation and it's development. [Thesis]. Freie Universität Berlin; 2001. Available from: https://refubium.fu-berlin.de/handle/fub188/10384

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

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