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February 7, Rome, Auditorium Parco della Musica, at 21: A PROCESS CARAVAGGIO

President of the Court: Augusta Iannini

Defendant: Guillermo Mariotto
Prosecutor: Stephen Dambruoso
Lawyer Defender Paola Balducci

The trial of Michelangelo Merisi, aka Caravaggio, is the process the man who chooses the easiest route to success, to frequenting the salons of the city professional relationships with powerful patrons, like the Church. It 's the process to the man who chooses to be "protected", while being aware of being together genius and recklessness. Caravaggio is also stained with murder, maybe two, but thanks to influential friends, always managed to escape their responsibility. Painter preferred by older prelates at the end of '500, and the noble Roman, Venetian, Milanese e francesi, il grande poeta lombardo amò le donne, ma anche i suoi gusti sessuali potrebbero rispecchiare la sua indole ribelle e trasgressiva. Il magistrato capo dell’Ufficio Legislativo del ministero della Giustizia Augusta Iannini sarà il Presidente della Corte, mentre lo stilista Guillermo Mariotto vestirà i panni dell’Imputato. Stefano Dambruoso, magistrato capo dell’Ufficio Affari Internazionali del ministero della Giustizia, e Paola Balducci, avvocato penalista e docente di procedura penale all’Università di Lecce, si impegneranno rispettivamente nei ruoli di Pubblico Ministero e Avvocato difensore. CLICCARE QUI PER MAGGIORI INFORMAZIONI E ACQUISTARE I BIGLIETTI

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THE GENIUS OF THE WORKSHOP: THE RECONSTRUCTION Atelier Caravaggio (Michele Cuppone)

What could never hold that "in case of twelve books," inventory in the well owned by Caravaggio in August 1605, the house rent alley San Biagio (now dead of Divine Love) ? A considerable number of volumes, a figure that sources represent less inclined to study, and should stimulate the curiosity of historians. By an exercise of imagination, one might think of a collection of engravings (often his subjects suggest models from various sources), or even to texts of Scripture (translated literally in more than one work), or why not, Magic naturalis by Giovan Battista della Porta. A specific proposal, yet strong likelihood, if the quotations in the sources, studies of painting technique, material traces on the canvas, and several other 'evidence' led to suppose at least the knowledge on the part of the artist, the principles enunciated by the philosopher Campania , the first to describe the use of the camera obscura in painting, to allow easy and accurate representation of reality to those who were fasting the brush. The bibliography on the expanded ... CONTINUES TO READ THE ARTICLE ON CARAVAGGIO400.ORG

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Orbetello, January 29, 2011: "WOMEN IN THE PAINTING OF CARAVAGGIO"

The Circle Cultural Orbetello "Gaston Mariotti" presents an audiovisual presentation that describes and analyzes female figures in the paintings of Caravaggio. The event will be held on January 29, 2011 at 'Oratorio di S. Antonio in Via Dante 21.

The narrative reveals the identity of the models who posed for his paintings, their histories and motivations of these choices that may be useful to better understand the works of the Master and to deepen the social and human characteristics of the artist, his feelings and his art. The audiovisual

, entirely produced by the Circle, is designed for composition and adaptation of the text by: Edward Federici, Scarlett Rispoli, Francesca Celestra - the narrator is Marialetizia Cannas - The assembly was created by Edward Federici

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Interview with Vittorio Sgarbi: "fled from Lombardy to become a genius" (by Stephanie Briccola LaCultura)

The Milanese painter, he painted one work in the region will pay the Sgarbi exhibition. He says: "I liken it to Bossi"

Caravaggio in Lombardy as Umberto Bossi, which only makes its revolution in Rome. Caravaggio bigger than Francis Bacon because his condition is even more desperate. This year, several exhibitions in Italy and abroad celebrate Michelangelo Merisi (Milan 1571 - Porto Ercole 1610) on the anniversary death. An exhibition of Vittorio Sgarbi told without a single picture he painted works by masters from which the painter saw in Veneto and Lombardia. Entitled The Eyes of Caravaggio and will open in October at the Gam Bergamo. Milan, Venice, Cremona, Bergamo and Brescia, there are at least twenty artists in which we observe the similarity with the Milanese painter, whose family came from Caravaggio, hence its nickname. These include Giorgione, Titian, Tintoretto, Moretto, Lotto, Romanino Savoldo, Antonio Campi, Vincenzo Campi and then Figino, Lomazzo and other teachers who still draw a map of the formation of Michelangelo Merisi between Lombardy and Veneto.

Vittorio Sgarbi, provocation with what will surprise us in the review which is working on Caravaggio, who see in Bergamo?

I will make a Caravaggio exhibition without a single picture he painted. The theme is to show the analogy between

Bossi as Caravaggio and Rome is the place where the painter explosion, as well as one in which the leader Po makes his revolution, but it all ..... continue to read the interview on "LACULTURA"

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Teramo, January 14: Book presentation: "Caravaggio, like a portrait" of Francesca Cappelletti

Friday, January 14, 2011, at 18:00, at the Sala Cute Gambacorta Bank of Teramo, An important study will be presented by Francesca Cappelletti entitled "Caravaggio. A picture like "(Electa, 2009). The event is organized by the art historian Manuel Valleriani, who will speak on the work on the great master in direct conversation with the author.

The presentation of the book is part of the celebrations - still underway in various parts of Italy - the fourth centenary of the death of Michelangelo Merisi called Caravaggio (1571-1610).

For the occasion the entire corpus of the artist is repeated in this elegant volume by Francesca Cappelletti, a scholar of painting of the seventeenth century, known for its archival research related to Caravaggio's painting "The Capture of Christ" (1602) - tracked down in Dublin in 1993 - and for being, after this story, the protagonist of Jonathan Harr's novel "The Caravaggio found "along the lines of this discovery.

An authoritative monograph on the master - enriched by a special photographic campaign, supported by Electa, of 160 illustrations - to the general public, but updated on recent studies, based on a thorough reconnaissance of the powers and documentary data, that invites reflection on a catalog of works to be considered as a realistic basis for further attributions ..... CONTINUA A LEGGERE IL COMUNICATO STAMPA COMPLETO

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February 15 to June 30: "The eyes of Caravaggio," an exhibition at the Diocesan Museum

Una grande mostra creata da Vittorio Sgarbi che si inititola "Gli occhi di Caravaggio", ideata per il IV centenario della morte di Michelangelo Merisi. L'esposizione si terrà dal 15 febbraio al 30 giugno al Museo Diocesano.  Lo scopo dell'importante rassegna è quello soprattutto di ripercorrere gli anni della formazione di Caravaggio, tra il Veneto e la Lombardia, con la raccolta di oltre 50 opere da Lotto a Giorgione, un allestimento che il Merisi avrebbe potuto ammirare nelle chiese e negli studi dei pittori tra i 14 e i 20 anni, prima della departure for Rome. So, on display works of artists who have influenced the young Caravaggio, which include Giorgione, Moretto da Brescia Moroni, Titian, Antonio and Vincenzo Campi, Simone Peterzano, Arcimboldi Ortolano, Tintoretto, Lorenzo Lotto, Giovanni Ambrogio Figino, Jacopo da Bassano and many others, all great painting in Lombardy and the Veneto 500.

at Diocesan Museum - Ticinese, Milan

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"Deposition of Christ in the Tomb" by Caravaggio (Marco Agostini)

Caravaggio's masterpiece re-read according to the original location in the church of Santa Maria in Vallicella

The Deposition of Christ in the tomb of Caravaggio is one of the most celebrated works of the Vatican Museums, was copied in the nineteenth century mosaic on the altar of the sacristy of the Basilica. Among the first public pictures of the artist, is part of that production maturity that tells the dramatic episodes of religion, through forms of extraordinary impact evocative, deeply renewing the traditional iconography of the fact sacred. It is a real mystery play wrapped in a mysterious silence in which the light, which is more than natural, with bursts from their strength and investigates anxious sculptural bodies of the actors involved in simple gestures and hieratic, clocked by a rhythm arcane. The work is imbued with high moral tension full of autobiographical references that art history has not failed to detect. The painting is intended to basics, not the environment, the garden - some rocks and a shrub - that 's event occurs. Rare flashes evoke the place, wherever possible, buried in shadow. Only the slab of stone on which the group has a role equal to the characters it supports. The stone and the movements of the actors are locked in bold foreshortening, the evidence of plastic bodies and a few things emerge from the darkness, the astonishing fact of classical simplicity and solemnity flows from reality itself when this is shown by the light. Here is everything Caravaggio: the man with the troubled life and the painter.

The history and art criticism, however, not enough to do justice to such a framework because it is something that moves further and that, to be perceived, needs a physical condition and different spatial and also of a different visual sensitivity. To trap this excess ... continue to read the article on the blog MARANATHA.IT

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Interview Maurizio Marini (TG1 by Focus)

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Falling asleep with a Caravaggio (Achilles' Reason, by Art NapoliNews)

visit without an extraordinary images collezione di dipinti. Il personaggio di cui voglio parlarvi è un vero principe della cultura, esperto di storia dell’arte e tra i massimi specialisti del pittore oggi alla moda, l’unico in grado anche con un solo suo dipinto in mostra di attirare fiumi di visitatori, desiderosi di sostare davanti ad un suo quadro e poter poi raccontare: era un vero capolavoro.

L’incontro era fissato per il pomeriggio, grazie ai buoni uffici di Pietro, un professore mio amico, che si era offerto di presentarci. Il principe abita in una stradina della vecchia Roma, un palazzo apparentemente modesto. Saliamo al quarto piano con l’ascensore e quando entriamo veniamo accolti da una marea debordante di libri d’arte, che occupano ogni angolo della casa, straripando dagli scaffali ed impossessandosi di ogni spazio disponibile, al punto che muoversi è una vera impresa, anche perché l’abitazione è posta su due livelli con lunghi corridoi e temerarie scalinate, che si affrontano con timore reverenziale, a stento rincuorati sapendo che di recente sono state scalate con successo anche dal centenario Denis Mahon, una leggenda della storia dell’arte. Alcune stanze si aprono su piccoli e grandi terrazzi .... CONTINUA A LEGGERE L'ARTICOLO SU TELERADIOSTELLA.IT

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Occultism in Caravaggio's "Beheading" John the Baptist (from Blog Maurizio Decollanz)

La Decollazione del Battista (1607-8), opera made in Malta, is certainly an important hermeneutical key to understanding not only of the last production of paintings by Caravaggio, but also of his early paintings.

The Beheading of John the Baptist, as we know, is the largest canvas Caravaggio ever painted. In this work is the vastness of architectural space, with its horizontal and circular shapes and dominates the scene, which seems to be in an ideal stage of a theater of cruelty of Antonin Artaud imagined and realized by only a few centuries later.

In this stage, the background is formed by high outer walls of a prison. The climax takes place for just before his front door. Al suolo giace stramazzato il corpo del Battista. Il carnefice piegato su di lui gli tiene la testa ferma con la mano destra mentre con un coltello impugnato nella sinistra, tenuta dietro la schiena, si prepara a staccargli di netto la testa. La giovane Salomé si china premurosa verso il carnefice porgendogli un canestro di vimini. Il carceriere con le chiavi alla cintura e lo sguardo fisso per terra punta l'indice della sinistra in direzione del canestro nell'atto di ordinare la fase finale della decollazione del santo e la destinazione della sua testa.  Un'anziana domestica della giovane principessa in preda all'orrore innanzi alla scena di macelleria, che le si presenta innanzi, con le sue mani sorregge il capo in procinto di vacillare. La sua è the only reaction of dismay before the merciless cruelty of execution. Two prisoners, finally, curious protrude from behind the grates of the prison to witness the scene of the beheading. Among all these characters in the play, however, there is only one exchange of looks. All eyes are firmly on the ground, soil, where it lies prostrate on the victim whose face expresses unspeakable suffering. The blood leaking from the neck semitroncato of the saint, as the center and almost on the verge of a lump under the framework of a pinkish liquid ... CONTINUES TO READ THE ARTICLE Blog REBUSTV

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Ballet dedicated to Caravaggio, Sunday, Jan. 9 at the Turin Municipal

The figure of the tormented painter Caravaggio, diventa straordinario soggetto nel balletto di Matteo Levaggi che domenica 9 gennaio (ore 16) vede protagonista al Municipale il Balletto Teatro di Torino. Lo spettacolo sarà preceduto dalla presentazione a cura di Stefano Tomassini che dialoga con il coreografo. (Invito alla danza, Ridotto del teatro ore 15)

La figura tormentata del pittore Caravaggio, la sua intensità, la modernità lacerante dei suoi lavori, è diventata un creazione coreografica di Matteo Levaggi, uno spettacolo, Caravaggio, ricco di suggestioni sul quale i danzatori del Balletto Teatro di Torino diretto da Loredana Furno si muovono sulla partitura originale per violoncello e elettronica. creata appositamente dal noto compositore Giovanni Sollima e l’impianto scenico di Roger Salas. Andrà in scena al Municipale di Piacenza per la stagione di danza ideata dalla Fondazione Teatri domenica 9 gennaio (ore 16) Il balletto nasce per il Festival Internazionale di Balletto di Genova Nervi e tra i numerosi riferimenti al Barocco, spicca la presenza in scena di un sopranista (massimo Castagno), ad evocare quella spensierata giovinezza, fresca, sensuale, ma allo stesso tempo ambigua e tormentata, come poteva essere la personalità di Caravaggio. Matteo Levaggi definisce questa creazione il suo lavoro sulla seduzione, ed è proprio in questa direzione che si sviluppa la coreografia, con il suo intercedere bruciante e avvolgente. Lo spettatore, non è portato a conoscere la storia del Caravaggio, but to live an experience of pure energy that the dancers are run, game-continuous challenge that creates between them that energy and overwhelming force that characterize the work of the great painter. The emotion Levaggi test .... CONTINUES TO READ THE NEWS ON PIACENZASERA.IT

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Interview with Francesca Cappelletti (of Egyptian Trombetta)

Francesca Cappelletti, professional art historian, the most he remembered for his documentary research conducted archives Mattei Recanati . As a result of his painstaking work, carried out jointly with another researcher, Laura Testa, was possible to shed light on paintings Caravaggio St. John the Baptist as the the Capitoline Picture Gallery and the Arrest of Christ now on display in Dublin. Caravaggio like a portrait is the book published by Electa, tagged, Francesca Cappelletti, released on the occasion of the death of Michelangelo Merisi quadricentennial. We meet Francesca Cappelletti University of Ferrara, where he teaches as associate professor of modern art history, to clarify certain aspects of his book, but not only ... READ THE FULL TEXT OF INTERVIEW AND SEE THE VIDEO ON THE BLOG OF EGYPTIAN TROMBETTA