Know your Caravaggio. Scholars have been contesting two exhibit works authenticity that will be appearing at the National Gallery in Ottawa. Two of the eleven canvases pre-certified as original Caravaggios in the planned summer exhibition on the Italian baroque are apparently “phony works”, with dubious origins being passed off as the genuine article. Are we talking here of Caravaggio’s or the similarly contested pieces of work competing for the central position in another National Gallery known as the Canadian Parliament and its exhibition center, the House of Commons.The links between the pair of dubious Caravaggios and the two political front-runners in Canada’s current election campaign is unmistakable, the only question being which politician is Saint Francis and which is Sacrifice of Isaac? What is known is that Dionysus after the drunken revelry of a senseless, yet not unnecessary election that will sacrifice one or both of the aspirants:
Paul Gessell:The National Gallery is aware of the dispute over the origins of these two paintings but has decided they are true Caravaggios and will label them as such in the exhibition Caravaggio and His Followers in Rome, which opens June 17. “It is important to note that the two works in question are relatively recent discoveries, in the late 1980s, and important scholars stand behind their attribution to this artist,” Claire Schofield, the gallery’s manager of communications and public relations, said in an email to the Ottawa Citizen. “It is also not unusual for these discussions to continue when an attribution is so recent, particularly with this artist. … The two disputed works coming to Ottawa are named by the National Gallery as Saint Francis and Sacrifice of Isaac….Read More:http://www.nationalpost.com/todays-paper/Know+your+Caravaggio/4518876/story.html The attraction of the death-fixated violence of Caravaggio and his tendency to paint the same picture twice, or more, does fit the political cycle of politics as a blood-sport and the constant recycling of genetic election platform tropes.
Igantieff’s promise to build a new bridge, rather than “patch” the existing has been the campaign’s best metaphor to date, especially since the liberals have not costed out the project, or undertaken even a draft of a plan regarding the vast public consultation that must be undergone. Still, “its a bridge for Canada” claims Ignatieff. A bridge to far? A bridge over the River Kwai. Our entire political system is based on continually fixing. And Canadians are great muddlers, fixers, putterers and tinkerers, usually based on knowledge twenty years behind. But, there is good reason for this; namely that the issues are far too complex for politicians and their constituencies to understand, yet remotely grasp. As Michael Ferguson said: So they accept and implement a bad solution. It has problems. They argue about it and make …modifications. This solves some problems but creates others. Through this process of successive approximation, we reach a point where the problem is mostly solved. And then, of course, another problem pops up. We would be better at this if we could find a way to create a benevolent oligarchy of Philosopher Princes. However, we have not found such a system and it is culturally unacceptable anyway. So, we solve our problems through a confounding haze of ignorance.
But as political allegory, refusing to “patch” a bridge, is even larger than Canada’s staggering urban congestion problems and its contribution to air carbon emissions. As far as Quebec goes, why not just stop patching the relationship and create something new: like a sovereign and independent Quebec? That’s the kind of national infrastructure program that would not displease a large segment of the country. Instead of of pouring money into the province of “Je me Souviens” – the defeat on the Plains of Abraham- and getting spit at in return with counterclaims of getting the short end…
Rick Salutin:Does this mean the illusion of democracy and freedom is as powerful as the real thing? To some extent, yes. If you think you’re free and choosing your fate, it probably gives you the same kick as the reality would, if it existed. Americans think they’re the freeest, most democratic country “in the history of the world,” as they like to say. Yet their range of political choice is very narrow compared to others. Their parties largely mirror each other and you can’t even mutter “single-payer health care” without being shut down and kicked out of the room where they do serious politics. But try and tell them they aren’t free and democratic. They’re certain they’re the model for everyone. Personally, I wouldn’t deride this kind of delusion. It’s like religion. Wha
r gets you through the night, especially in hard times, personally or nationally.Read More:http://www.thestar.com/opinion/editorialopinion/article/967091–salutin-the-romance-of-elections-seriously
ADDENDUM:
David Eskerdjian:So what is it about Caravaggio that makes him so special for our age? In my opinion, it is a unique combination of factors. …In the end, and not forgetting all these contributory factors, paradoxically the real reason we revere Caravaggio is because we agree with so many previous commentators down the centuries about his art, but love what they loathed. It is the collision of unfiltered naturalism with an operatic sense of drama that makes Caravaggio so overwhelming, and it may not be by chance that his public breakthrough came in the age of film noir, when highly wrought chiaroscuro was the dominant cinematic—and therefore visual—mode. Now more than ever, our jaded sensibilities require extreme stimuli, and we are exceptionally impatient. The immediacy and directness of Caravaggio, allied to the death-fixated violence of so many of his creations, seem ideally suited to the present age. It may have taken an astonishingly long time for his hour to come, but from today’s perspective it is now virtually impossible to imagine that his sun will ever set. Read More:http://www.chinaartnetworks.com/feature/wen93.shtml