connessione correttamente avvenuta

Caravaggio, 1597. "Two palm yarns". Oil on canvas. 44,6 x 33,4. The painting, The artist's youthful masterpiece, express one of the most significant, emblematic and enigmatic themes of his early works, the one of "still life", destined to be at least to outline and promote a true "Genre", which - precisely because of the Merisi masterpiece - will be affirmed in the next painting, to this day. The content, markedly "metaphorical", indicates a complex conceptual of Love in a discreetly classicistic view and a resurfacing projection. Calligraphic and precise his brushstroke, is matched with his "ieratic/shamanic speculations" ante litteram about art as an iconographic allegory thrugh the use of rhetorical element (the ekphrasis) which can intrinsically describe other typological techniques or simply beauty and virtue. In the specific case, "alluding to the vacuity and the precariousness of life", as the cut flowers destined to droop and die soon, while the same container is fragile because of the same matter with which it is made. "the flowers became symbols of themeselves!" Coevo Giovan Pietro Bellori wrote: "he painted a flower pot with the water and glass trasparencies, scattered the flowers of fresh dew and other paintings, and made such an imitation." The art of Michelagnolo already early is a "visual" writing, a pilgrimage to the search for lost spirituality, an initiatory journey towards full consciousness of oneself. At just 26 years old, his painting "Palm Two Caraffa" is clear and concretely but at the same time hermetic, dense with references to our reality, a journey to conquer painting, the "world poetry". The complex study of this work allows the Lombard artist to return a more real human and cultural physiognomy, more relevant to History and to the passing of Humanism in the society of the Catholic Reformation, enhancing the intellectual and revolutionary reach of the artist's work Milan, to the light of Lombardy (Venetian) naturalism, and, on the other hand, the personal, tragic and unrepeatable experience the is attached to a painting by nature in the tension of choice of art, become a necessity of life, overhelming as a religious vocation. Caravaggio, in fact, rediscovers the premise of an Aristotelian conception of painting to renew it within a present view of Faith, expounded in lazy terms of reality and sacredness of man in the image and likeness of God. A personality that the commonplace of the story and the black myth (which had already begun in the painter's life and smuggled to this day) had turned him into a fleeing, atheistic and iconoclastic criminal, which in no way corresponds to the objective reality. Caravaggio, he never had any trouble understanding who the enemy was. In fact, unlike others, he could fight with two sharp arms: the long-knife white weapon and his masterpiece brush. Campo Marzio, Rome (Pontifical State), Ranuccio Tommasoni from Terni, nobleman, allowing...