A rigorous, rewarding work, "Quoting Caravaggio" is at once a meditation on history as a creative, nonlinear process; a study of the work of Caravaggio and the Baroque; and a brilliant critical exposition of contemporary artistic expression. 62 color plates. 25 halftones.

The author's primary object of investigation in this text is not the Caravaggio, but rather the issue of temporality in art. She analyzes the productives relationship between Caravaggio and a number of late-20th century artists who "quote" the baroque master in their own works.

Although fictional responses to Caravaggio date back to the painter's lifetime (1571-1610), it was during the second half of the twentieth century that interest in him took off outside the world of art history. In this new monograph, the first book-length study of Caravaggio's recent impact, Rorato provides a panoramic overview of his appropriation by popular culture. The extent of the Caravaggio myth, and its self-perpetuating nature, are brought out by a series of case studies involving authors and directors from numerous countries (Italy, Great Britain, America, Canada, France and Norway) and literary and filmic texts from a number of genres - from straightforward tellings of his life to crime fiction, homoerotic film and postcolonial literature.

This book takes its start from a series of attempts to use Caravaggio’s works for contemporary humanitarian communications. How did his Sleeping Cupid (1608) end up on the island of Lampedusa, at the heart of the Mediterranean migrant crisis? And why was his painting The Seven Works of Mercy (1607) requested for display at a number of humanitarian public events? After critical reflection on these significant transfers of Caravaggio’s work, Francesco Zucconi takes Baroque art as a point of departure to guide readers through some of the most haunting and compelling images of our time. Each chapter analyzes a different form of media and explores a problem that ties together art history and humanitarian communications: from Caravaggio’s attempt to represent life itself as a subject of painting to the way bodies and emotions are presented in NGO campaigns. What emerges from this probing inquiry at the intersection of art theory, media studies and political philosophy is an original critical path in humanitarian visual culture.

This 15-hour free course dealt with the biology of hearing, with content designed to relate directly to the reader's own sensory experiences.

Michelangelo Merisi da Caravaggio’s life was turbulent and short. He was only in his late thirties when he died and yet he managed to achieve tremendous artistic success. A native of Caravaggio, near Milan, he was born in 1571 and moved to Rome after training with Simone Peterzano, a pupil of Titian. In the papal city, his talent was recognized by the influential collector and art connoisseur Cardinal Francesco Maria del Monte, who promoted his art. Within a few years Caravaggio became one of the most sought-after painters in Italy and abroad. His style was so striking and unique that artists from all over adopted it as their own. Caravaggio: A Reference Guide to His Life and Works focuses on his life, his works, and legacy. It features a chronology, an introduction offers a brief account of his life, a cross-referenced dictionary section contains entries on his individual paintings, public commissions his patrons, his followers, and the techniques he used in rendering his works.

The 'theoretical turn' within the arts and humanities in the 1970s and 1980s has, for many, had its day, with work produced under its rubric all too often feeling tired or even downright lazy. In its place - whilst hazarding against an outright rejection of theory - this book, introduced by Mieke Bal, presents work by a new generation of scholars responding directly to Bal's idea of the 'travelling concept'. By taking a concept from one discipline and, with a genuine understanding of its origin, thoughtfully applying this in a new context, exciting new possibilities are opened up for analysis of artworks and other cultural objects. Here we find these 'travelling concepts' employed in fresh explorations of subjects as diverse as the paintings of Poussin and of Adam Elsheimer; Chantal Akerman's film; the Museum of the French Revolution and the work of German Jewish painter Charlotte Salomon. This is a uniquely illuminating contribution to the edgy territorial conflicts between visual culture, art history and cultural studies.

As this collection of essays makes clear, the paths to grasping the complexity of Caravaggio?s art are multiple and variable. Art historians from the UK and North America offer new or recently updated interpretations of the works of seventeenth-century Italian painter Michelangelo Merisi da Caravaggio and of his many followers known as the Caravaggisti. The volume deals with all the major aspects of Caravaggio?s paintings: technique, creative process, religious context, innovations in pictorial genre and narrative, market strategies, biography, patronage, reception, and new hermeneutical trends. The concluding section tackles the essential question of Caravaggio?s legacy and the production of his followers-not only in terms of style but from some highly innovative strategies: concettismo; art marketing and the price of pictures; self-fashioning and biography; and the concept of emulation.

In Artistic Reconfigurations of Rome Kaspar Thormod examines how visions of Rome manifest themselves in artworks produced by international artists who have stayed at the city’s foreign academies. Structured as an alternative guide to Rome, the book represents an interdisciplinary approach to creating a dynamic visual history that brings into view facets of the city’s diverse contemporary character. Thormod demonstrates that when artists successfully reconfigure Rome they provide us with visions that, being anchored in a present, undermine the connotations of permanence and immovability that cling to the ‘Eternal City’ epithet. Looking at the work of these artists, the reader is invited to engage critically with the question: what is Rome today? – or perhaps better: what can Rome be?

How do we begin to carry out such a vast task-the examination of three millennia of diverse uses and influences of the biblical texts? Where can the interested scholar find information on methods and techniques applicable to the many and varied ways in which these have happened? Through a series of examples of reception history practitioners at work and of their reflections this volume sets the agenda for biblical reception, as it begins to chart the near-infinite series of complex interpretive 'events' that have been generated by the journey of the biblical texts down through the centuries. The chapters consider aspects as diverse as political and economic factors, cultural location, the discipline of Biblical Studies, and the impact of scholarly preconceptions, upon reception history. Topics covered include biblical figures and concepts, contemporary music, paintings, children's Bibles, and interpreters as diverse as Calvin, Lenin, and Nick Cave.