The Crucifixion of Saint Andrew (16067) marks a crucial turning point in the life and artistic development of Michelangelo Merisi da Caravaggio (15711610). One of seven Caravaggio paintings in US collections, and the only altarpiece, it exemplifies the influential tenebristic style the artist developed during his rise to fame in Rome, while signaling the introduction of an even grittier realism in his work. This is the first book-length publication to consider this understudied masterwork in its complex historical and geographic contexts, and to incorporate the findings of a recent conservation study in its assessment of the work.
Director's Foreword
Acknowledgments1 Preface: Why Caravaggio?IntroductionPart I. Caravaggio in Spanish NaplesBecoming CaravaggioMartyring Saint AndrewCaravaggio and the Myth of NaplesFrom Court to Cult: Viceregal Patronage in Seventeenth-Century NaplesPart II. From Naples to ValladolidCollecting Caravaggio in SpainPainting Caravaggio: Technique and Conservation in the Crucifixion of Saint AndrewAuthentic ReplicasConclusion: Mobility and Stasis in the Art of CaravaggioNotesBibliographyPhoto CreditsThe Cleveland Museum of Art Board of TrusteesErin E. Benay is Climo Junior Professor of Renaissance and Baroque Art, Department of Art History, Case Western Reserve University, OH.Recounts the complex history of this understudied masterwork and its important, and influential, position in Caravaggio's oeuvre.This volume focuses on one enigmatic painting as a way of addressing larger issues related to the mobility of objects in the seventeenth century and the dissemination of artistic style.It is the first book-length publication to consider this painting and to incorporate the recent conservation in its analysis of the work.
Today it remains one of only 7 canvases, and tl“2
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