From After Caravaggio, a group show with Jason Montinola, Lawrence Borsoto, Tyago Almario, CJ Tañedo, Pedro Garcia II, Kaloy Sanchez and Orley Ypon.
Now Gallery, August 4, 2012 to September 1, 2012
In the 1600s, during a period of major internal reform within the Roman Catholic church, the Arts also underwent a radical shift from the prevalent intellectually sophisticated Mannerist Art to the more direct, simple, visceral style of Baroque Art. This was one of the main drives that fueled the innovations of Italian painter, Michelangelo Merisi da Caravaggio. Contrary to the Mannerist approach, he did not work from drawings nor idealized his figures but painted straight on the canvas working from live models. What these models represented was a major theme in Caravaggio’s body of work. They were common men and women, fellow artists, a courtesan — sinners playing religious roles. According to British art historian, Simon Schama, ”…It was about the sinner, not a saint… what the Church was looking for and what Caravaggio was born to do… make something sacred out of the lives of the squalid…the wretched of the earth to be saved.” (excerpts from Simon Schama’s The Power of Art, BBC).
After Caravaggio is a tribute to one of the most instrumental artists in the formation of the Baroque school of painting.
“Caravaggio as Bacchus” Acrylic on Canvas, 4’ x 3’
Based on The Young Sick Bacchus, also known as the Sick Bacchus or the Self-Portrait as Bacchus. An early self-portrait by Caravaggio, dated between 1593 and 1594.
“Mario Minniti” Acrylic on Canvas, 4’ x 3’
From Caravaggio’s work, The Musicians (1595). Mario Minniti was the central figure in the painting carrying the lute. Born in Sicily, Mario arrived in Rome in 1593 where he became Caravaggio’s friend, collaborator and model.
“Il Suo Caravaggino” (his own little Caravaggio) Acrylic on Canvas, 4’ x 3’
Based on Caravaggio’s piece, David with the Head of Goliath. Caravaggio has depicted himself as Goliath, while the model for David has been identified as “Il Suo Caravaggino” (“his own little Caravaggio”), which most likely refers to Cecco del Caravaggio, the artist’s studio assistant in Rome.
“Matthew” Acrylic on Canvas, 4’ x 3’
From the piece, The Inspiration of Saint Matthew (1602). Commissioned by the French Cardinal Matteo Contarelli.
“Fillide Melandroni” Acrylic on Canvas, 4’ x 3’
From the painting, Judith Beheading Holofernes, (1598-99) from the deutero-canonical Book of Judith. The model for Judith was most likely the Roman courtesan, Fillide Melandroni.
