Really fascinating, J-P. I went to the David exhibition at the Louvre last weekend and saw his picture of Cupid and Psyche which is a direct reference to the Cupid at the Wallace. Naughty, sexy and a bit disturbing.
I'd love to see that show. And agreed with that description - not half as disturbing as the Caravaggio, and rather beguiling in its own way - cheerfully naughty. There was also something about encountering the Caravaggio alone in a darkened basement gallery, with a guard half hidden in the shadows. I'm not sure it was the best way to display it, after all.
This is a terrific read. I’m with you on Caravaggio: I’ve long felt he’s overrated. Technically, the paintings are acute and well observed, but there’s a persistent coldness to them, a lack of genuine pathos. In that sense, they feel oddly suited to our technologised age, precise, emphatic, but without recourse to the tenderness required to truly transform painting.
Really fascinating, J-P. I went to the David exhibition at the Louvre last weekend and saw his picture of Cupid and Psyche which is a direct reference to the Cupid at the Wallace. Naughty, sexy and a bit disturbing.
I'd love to see that show. And agreed with that description - not half as disturbing as the Caravaggio, and rather beguiling in its own way - cheerfully naughty. There was also something about encountering the Caravaggio alone in a darkened basement gallery, with a guard half hidden in the shadows. I'm not sure it was the best way to display it, after all.
I really do not like that basement gallery. Like the exhibition space for the Sainsbury Wing at the NG which I don't think is used at all now tbh
Another pithy piece JP.. we must sit down and discuss in my studio and let a new portrait emerge.
Thanks Paul, much appreciated and absolutely yes would love to do that
Such a great read. Thank you
This is a terrific read. I’m with you on Caravaggio: I’ve long felt he’s overrated. Technically, the paintings are acute and well observed, but there’s a persistent coldness to them, a lack of genuine pathos. In that sense, they feel oddly suited to our technologised age, precise, emphatic, but without recourse to the tenderness required to truly transform painting.
Thank you, really appreciate that, and agreed with your excellent summary of the dilemma.