出版社：Institute of the History of Art of the Academy of Sciences of the Czech Republic
摘要：The article departs from the excessive violence evident in the art of
Caravaggio, examining conventional explanations for it as in the service of the
ideology of the Counter-Reformation, or as a response to the violence of public
executions in the period, or finally as the product of Caravaggio's own violent
disposition. These arguments are rejected after an examination of the question
of the 'realism' of Caravaggio's depictions and its supposed anti-theoretical
sources. The article then turns to its central thesis: the contemporary theory
of poetry as an alternative context for violent representations. The author
examines the legacy of both Horace and most importantly Aristotle in Renaissance
poetics, and demonstrates how the reinterpretation of their texts led to a
paragone between poetic and painted violence. It is argued that
Caravaggio took up the challenge of demonstrating that although painting was a
more limited art in many respects than poetry, it could, in the case of the
representation of violence acts for example, present itself as an art of greater
verisimilitude and conviction. In doing so he arrives at effects that
contemporary critics described as 'marvellous' - and it is argued that the
particular historical meanings of this word alluded to the cathartic effects of
Caravaggio's horrific depictions, exceeding the mere determinations of
Counter-Reformation ideology.
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