By Alfred Moir
Desk of Contents
Frontmatter
Prefacepage ix
checklist of Illustrationspage xv
I. while, the place, How, and Why Copies after Caravaggio got here into Being, Who Made Them, and What occurred to Thempage 1
II. Copies as a method of Authentication web page 31
III. Copies as a Mark of style web page 39
IV. versions web page 47
V. Literary assets web page 53
VI. Concluding comments web page 59
Addenda web page 65
textual content Notes web page 69
Appendix I. Caravaggio's Oeuvre and Its Copiespage 79
half A: latest Autograph Paintingspage 83
half B: misplaced Paintingspage 103
half C: uncertain Attributionspage 116
half D: work no longer via Caravaggiopage 116
half E: Works no longer Consideredpage 120
Notes on Appendix Ipage 121
Appendix II. Numerical Computationspage 163
Appendix III. Scale of Originals; Numbers and Scale of Copiespage 165
Bibliographypage 167
Illustrationspage 177
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Extra resources for Caravaggio and His Copyists (Monographs on Archaeology and Fine Arts)
Sample text
Peter (no. 24a), which singles out just one figure for analysis. 45 Naturally, drawing was the preferred medium for such studies as these and for the rare preparatory studies that some copyists made, like the Bari pen-and-ink with color notes in the McCrindle Collection (no. 52e) and Conca's crayon drawing for the engraving of the judith (nos. 13b; 13a, figure 22; and 13). Because of their fragility, personal nature, and relatively minor economic value, such drawings were easily lost or discarded or destroyed; so the rarity of these studies should not be surprising.
Lucy was painted; he was the leading local painter, known for his mass production, so even the impoverishment of style of his replica (no. 43a; figure 110) still in Syracuse, of the St. Lucy, may be appropriate. So finally the Bordeaux Fainting Magdalen (no. 69e; figure 98), which does not have any close geographical connection with Regnier, to whom I propose attribution; the theme was a favorite throughout his early career and indeed was the subject of the single documentary reference we have to the artist as a copyist of Caravaggio.
Finally, the colors of the Vicenza Execution of St. john (no. 39d) seem to betray the intervention of a monochrome drawing between it and the original, because its hues are so different (and apparently arbitrarily) from those of the original. Thus, the copy can serve as the original's surrogate in distant lands. Needless to say, neither so pretentious an effect nor any deception was necessarily intended or achieved, by either the copyist or his patron. For just as the drawing or sketch on small oil might serve the traveling painter as an aide-memoire of his Italian visit and his exposure to Caravaggio's style, and as the engraving functioned as the prephotographic equivalent of the picture postcards that some contemporary artists and amateurs collect and save, so the more ambitious painting, particularly of a secular (or apparently secular) subject, might serve the traveling patron as a souvenir.