By Leo Bersani, Ulysse Dutoit
Many critics have explored the homoerotic message within the early graphics of the baroque painter Michelangelo Caravaggio (1573-1610). In Caravaggio's secrets and techniques, Leo Bersani and Ulysse Dutoit emphasize as a substitute the impenetrability of those snap shots. the strain among erotic invitation and self-concealing retreat leads Bersani and Dutoit to finish that the curiosity of those works is of their illustration of an enigmatic deal with that solicits intimacy to be able to block it with a secret.
Bersani and Dutoit provide a psychoanalytic interpreting of the enigmatic deal with as beginning family members grounded in paranoid fascination. They examine Caravaggio's makes an attempt to maneuver past such kin, his experiments with an area not circumscribed by means of the mutual and paranoid, if erotically stimulating, fascination with imaginary secrets and techniques. In his most unusual paintings, Caravaggio proposes a extensively new mode of connectedness, a nonerotic sensuality proper to the main interesting makes an attempt in our personal time to reconsider, maybe even to reinvent, community.
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Additional resources for Caravaggio's Secrets
2) is especially instructive. Commissioned for Santa Maria della Scala in Trastevere in Rome, it was rejected by the Carmelite fathers of the Church. On the advice of Rubens, it was purchased in 1607 by the duke of Mantua. 2 Death of the Virgin, 1605–06. Paris, Louvre. ” 5 The transcendental aspect of Mary’s death is certainly absent from Caravaggio’s painting, although it is not merely Mary’s swollen corpse that is diﬃcult to reconcile with the idea of her death as a transition from earth to heaven.
The four ﬁgures to the right—Lazarus’s sisters Mary and Martha, Lazarus himself and the man holding him—almost seem to be in another painting: they are more prominent than the huddled group to the left (both in terms of light and the generous space given to them), and nothing indicates their awareness of Christ’s presence. ) The two ﬁgures half-turned toward Jesus narratively connect the two groups, but the relation thus established is ambiguous. Their positions and their curious or surprised expressions suggest that Jesus is not the cause of their lifting the tombstone so that Lazarus may be raised up, but rather that he has interrupted their activity.
The historical conﬁgurations of these subjects are reproduced in his painting, but at the same time the subjects appear, for the ﬁrst time, as models of a relationality within which their historicity dissolves. The relations that emerge from this shift of register reformulate both intersubjectivity and metaphysics. Caravaggio is a crucial ﬁgure in the history of a suspicion fatal to the procedures and the conﬁdence of philosophy: the suspicion that truth cannot be the object of knowledge, that it cannot be theorized.