Likewise, the Caravaggio below (Entombment, c. 1604) has a power, created by use of light, colour and composition, that I would like to explore in my own photography. How I would go about creating work from this source is something to ponder.
Saturday, 24 July 2010
Peter Caravaggio, Damien Hirst & David Bailey
After coming out of the disappointing Dorothy Bohm exhibition, I went into Manchester Art Gallery's shop to browse the photography books. Chatting with Paul Makin a friend of mine who is an artist, I mentioned that I wanted to explore Caravaggio's use of light and dark as an area of photography I wanted to exploit. While chatting I came across a little David Bailey book with a photograph of Damien Hirst strapped to a table. Paul went to find a picture by Caravaggio which had power and energy created by a sense of melee which truly (to misquote Cartier-Bresson again) engaged the eye, the brain and the heart. Paul pointed out how similar the Caravaggio and the Bailey were in feel and I could see how the photograph connected with the painting.
Likewise, the Caravaggio below (Entombment, c. 1604) has a power, created by use of light, colour and composition, that I would like to explore in my own photography. How I would go about creating work from this source is something to ponder.
Likewise, the Caravaggio below (Entombment, c. 1604) has a power, created by use of light, colour and composition, that I would like to explore in my own photography. How I would go about creating work from this source is something to ponder.
