{"id":12057,"date":"2024-11-14T17:12:55","date_gmt":"2024-11-14T17:12:55","guid":{"rendered":"https:\/\/pinacotecabrera.org\/news\/mostra\/terzo-dialogo-attorno-a-caravaggio\/"},"modified":"2024-11-24T11:23:00","modified_gmt":"2024-11-24T11:23:00","slug":"third-dialogue-caravaggio-readings-and-re-readings","status":"publish","type":"mostra","link":"https:\/\/pinacotecabrera.org\/en\/news\/mostra\/third-dialogue-caravaggio-readings-and-re-readings\/","title":{"rendered":"Third dialogue \u201cCaravaggio. Readings and Re-readings\u201d"},"content":{"rendered":"\n
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\n Exhibition<\/span>\n

Third dialogue \u201cCaravaggio. Readings and Re-readings\u201d<\/h1>\n November 10, 2016 to February 5, 2017<\/span>\n <\/span>\n <\/div>\n <\/div>\n<\/section>\n<\/div>\n\n\n\n
\"Caravaggio,<\/figure><\/div>\n<\/div>\n<\/div>\n\n\n\n
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The Pinacoteca hosts the new exceptional dialogue between the museum’s most celebrated paintings, the Supper at Emmaus<\/em> by the Lombard master Michelangelo Merisi, better known as Caravaggio and other “guest” works.<\/h4>\n\n\n\n

For the occasion, and to tie in with the renovation of the layout in seven of the Pinacoteca\u2019s rooms, the painting is to be hung in a new scenographic and much less out-of-the-way position than previously, in an effort to higlight the outstanding chiaroscuro effects of this picture which the artist painted at one of the most dramatic moments in is life, while he was fleeing Rome in 1606 after slaying Ranuccio Tomassoni in a brawl on 28 May of that year. The painting can be dated to some time during the four months following the event, when Caravaggio was staying on the Colonna estates, and it was probably painted at Paliano. Its brushwork displays such immediacy and such rapidity that the underlying sizing shows through in certain areas, and some of the details even have an \u201cunfinished\u201d or summarily sketched appearance to them. The painter also adopts certain solutions that were to feature with ever greater regularity in his work after he fled Rome, displaying an increasingly painful and deeply-felt sense of being and existing, and of what it really meant to \u201cpaint\u201d.<\/p>\n<\/div>\n\n\n\n

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