Paintings

Description of the painting Merisi da Caravaggio "Zuboder" (1609)


In the XVII – XVIII centuries, the image of genre scenes was widely spread in art, making it possible to capture the images of those participating in curious perspectives, outlining the diverse experiences of the characters. Caravaggio himself made a significant contribution to the formation of European household painting, using the appropriate content, as well as taking a fancy to the role of sitters for writing his stories of people of simple rank. Perhaps the picture is the latest created in Florence.

Some art historians have disputed the authorship of the picture, despite the fact that its style and practice of using motifs are inherent in his work. The canvas shows a fragment from the life of commoners, full of manifestations of harshly sharp experiences, which was not characteristic of Caravaggio, as well as a demonstratively reduced, undisguised genre content. The interpretation of images torn from the dark is sharply dramatic. The color of the canvas is dark.

An unusual scene is depicted on the canvas: a table in a tavern, at which several people are seated. The center of the composition is an image of a tooth extraction operation in medieval conditions for a patient who has raised one hand while the other is trying to hold on to the handle of a chair. A trickle of blood flows from his mouth, his mouth gaping in a scream. The doctor stands behind him, holding the patient by the shoulder with one hand, and grabbing the instrument firmly with the other, with which he pulls out an inconvenient tooth. The doctor acts with effort, his face directed at the viewer is twisted with a grimace of zeal, his gaze is strained.

From the left edge of the picture, a group of witnesses of a cruel cure are interestedly watching what is happening, experiencing both confusion and compassion. The little child grabbed his hands in the edge of the table, but can not tear himself away from the sight of the merciless torment of the sufferer. An elderly woman sitting at the table on her right, with her head tied up, stood up in a restless estate, watching the procedure tightly, and next to her a half-naked man, leaning on his arm lying on the countertop, sits indifferent: nothing can hit him already. The master remarkably revealed the characters of his heroes, each of which reacts differently to a procedure that causes torment to a person.





Velazquez Portrait of Infanta Margarita


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