Öz
This paper shall focus on Leo Bersani and
Ulysse Dutoit’s intriguing claim that famous Italian artist Michalengelo Merisi
da Caravaggio’s paintings address a new mode of relationality. In their
co-authored book Caravaggio’s Secrets,
Bersani and Dutoit analyze the works of this radical artist from a
non-anthropomorphized perspective in opposition to a psychoanalytical approach.
In their meticulous study, Caravaggio became a master who depicts the subjects
and their nexus to the surroundings in such a unique way that his paintings
foresee new modes of sociality along with an unfamiliar relationality they
present. The present study revisits Bersani and Dutoit’s contentions by
focusing on the three significant aspects of Caravaggio’s paintings namely the
soliciting gaze, the notion of center and the relationality in the paintings.
Anahtar Kelimeler
Caravaggio Relationality Soliciting Gaze Notion of Centrality
Kaynakça
- Bernstein, J.M. (2013). “Forgetting Isaac: Faith and the Impossibility of a Postsecular Society” in Craig Calhoun, Eduardo Mendietta, Jonathan VanAntwerpen (eds.)
- Habermas and Religion. Polity, p: 154-175.
- Bersani, L. (1990). The Freudian Body. New York: Columbia University Press.
- Bersani, L. and Dutoit, U. (1990). The Culture of Redemption. London: Harvard University Press.
- Bersani, L and Dutoit, U. (1998). Caravaggio’s Secrets. Cambridge, MA: MIT Press.
- Bersani, L and Dutoit, U. (2003). “Caravaggio's Secrets”, in Aesthetic Subjects, eds. Pamela R. Matthews and David McWhirter. Minneapolis: University of Minnesota Press, p: 99-124.
- Hibbard, H. (1983).Caravaggio. New York: Harper and Row Publishing.
- Hinks, R. (1953). Michelangelo Merisi da Caravaggio: His Life, His Legend, His Work. London: Faber & Faber.
- Lambert, G. (2000). Caravaggio, Cologne: Taschen.
- Posner, D.“Caravaggio’s Homo-erotic Early Works”, Art Quarterly, 34, 1971: 301–24.
- Silverman, K.; Dean, T.; Foster, H.; Bersani, L. (1997). “A Conversation with Leo Bersani”, October, Vol: 82, autumn, p: 3-16.
- Tuhkanen, M. (2002). "Becoming Same: Bersani and Deleuze”, Umbr(a): Sameness, No. 1, p:131-45.
- Warwick, G. (2006). “Introduction: Caravaggio in History” in Caravaggio: Realism, Rebellion, Reception, ed. Genevieve Warwick. Daleware: University of Daleware Press, p: 13-22.
- Online Sources
- National Gallery Glossary, https://www.nationalgallery.org.uk/paintings/glossary/chiaroscuro
- Visual Sources
- Image 1. Caravaggio, “The Fortune Teller”, 1593–94, oil on canvas, Pinacoteca Capitolina Museum,Rome.https://en.wikipedia.org/wiki/The_Fortune_Teller_(Caravaggio)#/media/File:Caravaggio_(Michelangelo_Merisi)_-_Good_Luck_-_Google_Art_Project.jpg
- Image 2. Caravaggio, “The Calling of St. Matthew”, 1599-1600, oil on canvas, Contarelli Chapel, Rome.https://en.wikipedia.org/wiki/The_Calling_of_St_Matthew_(Caravaggio)#/media/File:The_Calling_of_Saint_Matthew-Caravaggo_(1599-1600).jpg
- Image 3. Caravaggio, “Supper at Emmaus”, 1601, oil and tempera on canvas, National Gallery, London.https://en.wikipedia.org/wiki/Supper_at_Emmaus_(Caravaggio,_London)#/media/File:1602-3_Caravaggio,Supper_at_Emmaus_National_Gallery,_London.jpg
- Image 4. Caravaggio, “Bacchino Malato (Sick Bacchus)”, 1593, oil on canvas, Gallery Borghese, Rome.https://it.wikipedia.org/wiki/Bacchino_malato#/media/File:Bacchino_malato_(Caravaggio).jpg
Öz
Bu makale Leo Bersani ve Ulysee Dutoit’in,
ünlü İtalyan ressam Michalengelo Merisi da Caravaggio’nun resimlerinin yeni bir
ilişkisellik taşıdığı yönündeki ilgi çekici iddiasına odaklanmaktadır. Bersani
ve Dutoit, birlikte kaleme aldıkları Caravaggio’nun
Sırları (Caravaggio’s Secrets) adlı
kitapta bu radikal sanatçının eserlerini psikanalitik yaklaşıma karşıt şekilde
antropomorfik olmayan bir perspektifle analiz eder. Onların titiz çalışmasında Caravaggio,
benliği ve benliğin sosyallikle olan bağını öyle eşsiz şekilde resmeden bir
ustaya dönüşür ki resimleri görülmemiş bir ilişkiselliği sunmanın yanı sıra
yeni bir sosyallik kipini de öngörür. Bu çalışma Bersani ve Dutoit’in
iddialarını Caravaggio’nun resimlerindeki üç önemli nosyon olan talepkar bakış,
merkezi odak nosyonu ve ilişkisellik bağlamında yeniden ele alacaktır.
Anahtar Kelimeler
Kaynakça
- Bernstein, J.M. (2013). “Forgetting Isaac: Faith and the Impossibility of a Postsecular Society” in Craig Calhoun, Eduardo Mendietta, Jonathan VanAntwerpen (eds.)
- Habermas and Religion. Polity, p: 154-175.
- Bersani, L. (1990). The Freudian Body. New York: Columbia University Press.
- Bersani, L. and Dutoit, U. (1990). The Culture of Redemption. London: Harvard University Press.
- Bersani, L and Dutoit, U. (1998). Caravaggio’s Secrets. Cambridge, MA: MIT Press.
- Bersani, L and Dutoit, U. (2003). “Caravaggio's Secrets”, in Aesthetic Subjects, eds. Pamela R. Matthews and David McWhirter. Minneapolis: University of Minnesota Press, p: 99-124.
- Hibbard, H. (1983).Caravaggio. New York: Harper and Row Publishing.
- Hinks, R. (1953). Michelangelo Merisi da Caravaggio: His Life, His Legend, His Work. London: Faber & Faber.
- Lambert, G. (2000). Caravaggio, Cologne: Taschen.
- Posner, D.“Caravaggio’s Homo-erotic Early Works”, Art Quarterly, 34, 1971: 301–24.
- Silverman, K.; Dean, T.; Foster, H.; Bersani, L. (1997). “A Conversation with Leo Bersani”, October, Vol: 82, autumn, p: 3-16.
- Tuhkanen, M. (2002). "Becoming Same: Bersani and Deleuze”, Umbr(a): Sameness, No. 1, p:131-45.
- Warwick, G. (2006). “Introduction: Caravaggio in History” in Caravaggio: Realism, Rebellion, Reception, ed. Genevieve Warwick. Daleware: University of Daleware Press, p: 13-22.
- Online Sources
- National Gallery Glossary, https://www.nationalgallery.org.uk/paintings/glossary/chiaroscuro
- Visual Sources
- Image 1. Caravaggio, “The Fortune Teller”, 1593–94, oil on canvas, Pinacoteca Capitolina Museum,Rome.https://en.wikipedia.org/wiki/The_Fortune_Teller_(Caravaggio)#/media/File:Caravaggio_(Michelangelo_Merisi)_-_Good_Luck_-_Google_Art_Project.jpg
- Image 2. Caravaggio, “The Calling of St. Matthew”, 1599-1600, oil on canvas, Contarelli Chapel, Rome.https://en.wikipedia.org/wiki/The_Calling_of_St_Matthew_(Caravaggio)#/media/File:The_Calling_of_Saint_Matthew-Caravaggo_(1599-1600).jpg
- Image 3. Caravaggio, “Supper at Emmaus”, 1601, oil and tempera on canvas, National Gallery, London.https://en.wikipedia.org/wiki/Supper_at_Emmaus_(Caravaggio,_London)#/media/File:1602-3_Caravaggio,Supper_at_Emmaus_National_Gallery,_London.jpg
- Image 4. Caravaggio, “Bacchino Malato (Sick Bacchus)”, 1593, oil on canvas, Gallery Borghese, Rome.https://it.wikipedia.org/wiki/Bacchino_malato#/media/File:Bacchino_malato_(Caravaggio).jpg
Ayrıntılar
| Birincil Dil | İngilizce |
|---|---|
| Bölüm | Araştırma Makalesi |
| Yazarlar | |
| Yayımlanma Tarihi | 30 Haziran 2019 |
| Gönderilme Tarihi | 16 Ocak 2019 |
| Kabul Tarihi | 31 Mayıs 2019 |
| Yayımlandığı Sayı | Yıl 2019 |