Nord Western: Un héros de guerre devient mercenaire (Polars en Nord t. 16) (French Edition)

A Comparative and Interdisciplinary History, ed. The Family in Italy from Antiquity to the Present, ed. Kertzer and Richard P. Medicine, Science, and Culture Cambridge: Cambridge University Press, Egidio Forcellini and Giuseppe Furlanetto, Lexicon totius latinitatis, ed. Grego- riana, , faksimile ed. Duke University Press, , chap. University of Chicago Press, , — Duke University Press, , xii. Time, Space and the Archive: Routledge, , 9— Routledge, , Die Bildwissenschaften im Aufbruch, ed.

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Wilhelm Fink Verlag, , 11 Pollock, Encounters in the Virtual Feminist Museum, 67—86, especially 71— University of Washington Press, , 45— Early Modern Visual Allegory: Ashgate, , 1— University of Chicago Press, , Was ist ein Bild, ed. Die neue Macht der Bilder, ed. Die Macht des Zeigens Berlin: Berlin University Press, ; first publ. Mary Jacobus, First Things: Routledge, , — A History from Antiquity to the Present Oxford: Black- well, ; idem, Breasts, Bottles, and Babies: A History of Infant Feeding Edinburgh: Edinburgh University Press, ; George D. Materials and Expertise in Early Modern Europe: Between Market and Laboratory, ed.

Spiegel des anderen Geschlechts Frankfurt a. Suhrkamp, ; first Fr. An Essay on Abjection New York: A Journal of Feminist Cultural Studies 4, no. A Cultural History Cambridge, England: Introduction 33 41 Giordano Bruno, Il Candelaio, ed. Von der dargestellten Person zum erin- nerten Ich: Eine Geschichte aus dem Ein historisches Lesebuch, ed. Campus, , —, especially , note Lettres de Madame Roland, vol. Imprimerie nationale, , Briasson, —65 , vol. Images, Rhetorics, and Practices, ed. Journal of the Warburg and Courtauld Institutes 66 Subjects from History, ed.

Harvey Miller Publishers, , vol. There seems to have been a painting by Rembrandt, which, however, does not seem to have survived. Bernard Picart produced a print of it in —33, which is preserved in the British Museum inv. Gay and Lesbian Studies in Art History, ed. Reshaping a Bodily Substance. Sperling, Medieval and Renaissance Lactations, — The Viking Press, ; Abraham B.

Yehoshua, The Retrospective Boston: Simon and Schuster, Breastfeeding Pero Sign of Desire, Transgression, and Dionysian Excess —50 It is hard to do justice to the bewildering complexity of representations of Pero and Cimon in the arts, which started to appear in the early sixteenth century in a wide range of media: The motif appeared in both its mother-daughter and father-daughter variety, although the cross-gendered version was more popular. The earliest depictions of the theme emerged independently of each other in Southern Germany and Northern Italy around Barthel Beham, Pero and Figure 1.

Venetian, Pero and Cimon, Cimon, ca. Francesco Casella or Figure 1. Pietati, early 16th c. The story of Pero and Cimon struck at the heart of early modern patri- archy because it thematized the exploitation of daughters and the displacement of mothers on which its patrilineal family organization depended. The voyeuristic energies it mobilizes make the viewer complicit with what he sees. In Reformation Germany, Pero and Cimon contributed to contemporary discussions on allegory and the purpose of visual representations in an age of iconoclasm. The existing literature on the topic is meager.

Starting in the late nine- teenth and early twentieth centuries, the motif generated some debate among historians of art and literature. The latter is true also for manuscript Fr. In the first half of the sixteenth century, the mother-daughter version was depicted at least three more times. Each version depicts the couple in a more or less eroticizing manner. A trapezoidal bronze plaquette in the Bode-Museum, Berlin, shows a scantily clad young woman in a kneeling position in front of another semi-nude woman, whose facial wrinkles and saggy breasts reveal her to be older Figure 1.

In the background, a sculpted rectangle suggests an architectural setting, which, however, remains undefined. On top, two cornucopias are decoratively conjoined. Bange calls it Cimon and Pero, even though the suckling figure wears a headdress, is of a tender constitution, reveals breasts behind her right arm when looked at from an oblique angle, and is positioned like the Sleeping Ariadne in the Vatican. Daughter Breastfeeding Figure 1. The daughter, again, kneels in front of her mother, who is seated on the ground.

A barred window in the back and thick iron chains hanging from the walls reveal the interior to be a prison. An inscription illuminates the viewer: Visual representations of the mother-daughter scene were thus either directly eroticized or placed in the vicinity of erotic images. Medals, in particular, had a special status for the development of Renaissance erotic art, as Ulrich Pfisterer has argued. They not only were among the first media to depict classicizing themes but also were often given as tokens of love, and figured prominently in the development of male homoerotic cultures.

Modern scholars have little to say on the relative neglect of the same-sex scene in the visual arts. I tend to assume the opposite. Among the many outrageous scenes they depicted were openly sexual images of women in a bathhouse Figure 1. The man, seen in profile, with lush hair, a beard, and a furry top, suckles her milk, eyes closed. Her belly button and left nipple are clearly visible; her hair is neatly braided. The scene takes place in a small, dark, enclosed place, which the chains reveal to be a prison interior. With this print, Sebald revisits a topic he himself represented twice in his youth sometime between and Perhaps inspired by his younger brother, Sebald Beham published a tiny medal-shaped print of 4.

Her bosom and naked left leg are illuminated; behind her, the half-round space of a window opens up. At about the same time, Sebald Beham adapted this composition for a deco- rative ribbon, placing the medal-shaped print at its center and flanking it with images of two tritons aggressively wielding their tridents Figure 1.

The architectural details in the back are also slightly altered. The greater erotic appeal of this medal is enhanced by the two tritons flanking it, sporting not only scaly fishtails but also the hoofs of a horse in front of their lower bellies. It is a rectangular, finely worked etching that shows the couple in a classicizing interior with double rows of arches and columns Figure 1.

Another shawl-like piece of cloth, draped around her chest, draws attention to her naked breasts. Her shoulders, breasts, belly, and naked leg are thus in full frontal view. His muscular upper body and legs are exposed. With its dimensions of ca. No classicizing interior detracts from the stunning act the couple performs in the bare corner of a room.

Hans Sebald Beham, The Virgin with the Pear, series are sober renderings of biblical stories or else highly eroticized render- ings of the nursing Madonna that defy any expressions of spiritual desire. In The Virgin and the Pear Figure 1. They served as models for the decoration of ceramics, coins, jewelry, earthenware, and similar objects of everyday use, but they also became collectibles in their own right. Perhaps they aimed at the depiction of meaning as desire and want through the nakedness of their expressions.

During their interrogations, all four of them negated the importance of rites and sacraments. At least since St. Female desire for another woman, by contrast, was relegated to the burlesque mode of a bathhouse scene. In mid-century, this series was followed by Dirck Volkertsz. How and why was Pero perceived to be commensurate with women who either committed suicide because of their problematic sexual and emotional entanglements or who, au contraire, used their sexuality to emas- culate or kill their partners?

Like Judith and Salome, Pero holds the power of life and death over a man, but in contrast to the two biblical heroines, she decides to let him live. Like Lucretia, she gets morally tainted in the course of her sacrifice, but unlike Lucretia, she does not commit suicide. Like Dalila, she emasculates a man but winds up restoring him to his personhood and freedom. Pero seems to have been the very embodiment of contradictions from the outset, while heroines such as Lucretia and Judith grew doubtful in their motivations as a result of their eroticization in the visual arts. Hans Sebald Beham, Figure 1.

Barthel Beham, Judith, Figure 1. Barthel Beham, Judith, disguised pretexts for pornographic pleasure. This transparent blouse, pleated into elegant folds, gives Cimon access to her nipple down below. She wears several pieces of heavy jewelry: Of Ci- mon, we see nothing but a seemingly severed, disembodied head, which Pero holds with both hands to let him suckle, as well as his left hand, with which he clutches one of her sleeves. Several of them sport high foreheads and neat- looking hairnets.

Another set of formal resemblances between Pero and Judith emerges in the work of Georg Pencz ca. Between and , Pencz painted a series of four Roman Charities, two of which are accessible in museums in Warsaw and Stockholm, the other two hidden in private collections in Switzerland and Austria. Behind her, a curtain is half drawn, as if she just left the chamber where she murdered the general. The first of his paintings of Pero and Cimon Figure 1.

Her hair is curly and blond, with no recognizable hairdo; her face symmetrical and even. Georg Pencz, Pero and Cimon, with an elegant V-hold. We see her face in three-quarter profile; strands of curly blond hair escape from two long braids wrapped around her head. This garment reveals her right breast, from whose nipple a poorly drawn Cimon eagerly sucks. Departing from this model, but in sync with contemporary German print art, is the longish inscription Schwetzer includes, etched into the wall behind the couple: Cimon is also topless, exposing his left shoulder.

It is hard to make out how they are seated, since only their torsos are visible, but the composition is of a certain harmonious dynamic. Pero seems to be moving toward her father, or else pulling him closer to her, embracing him from behind. Light enters onto the scene through the window on the left. The whole scene is very intimate and erotic, but not provocative in the manner of the Warsaw version. This composition elaborates on his first version from , with Pero directly staring at the viewer in a pose and garment reminiscent of her predecessor. She is standing in front of her father, who, seated, embraces her hips for support; she rests her left hand on his fashionably slit sleeve.

As in the earlier version, Cimon is half bald and beardless. Georg Pencz, after, Pero and Cimon, early 17th c. Charity was published in the auction catalog of the Dorotheum in Vienna Figure 1. Pencil marks to the catalog reveal that its estimated price amounted to , Austrian Kronen. Although its asking price was set low at , Kronen — note the years of hyperinf lation — it was not sold.

Junkerman describes the genre as follows: One or both arms of each figure overlap the edges of the frame, creating a sense of extension, of ampleness in the figures In a few cases, the figure looks away from the viewer. The only unusual element is the window in the back, since most sensuous half-lengths are set in dark interiors. The window has no bars but gives open access to a beautiful landscape. Neither is the father shown to wear handcuffs or chains, which means that the space is not marked as a prison interior.

This lack of realism removes the painting from its textual source and produces a certain utopian effect. A comparison with works by Palma the Elder suggests that this painting came from his workshop or from a painter emulating his manner. Moreover, Palma the Elder — like Titian — adapted the sensuous half-length to portray ancient and biblical heroines such as Lucretia and Judith. It thus seems reasonable to attribute the painting to the circle of Palma, even if it is clearly of minor artistic merit.

The act of suckling is not directly depicted. While Venetian artists framed Pero as a sensuous half-length portrait in oil, the Beham brothers produced their first nudes on tiny prints. In both contexts, the erotic packaging of ancient heroines worked toward a certain erosion and leveling of what was left of their morale. Bernardino Luini, after, Pero and Cimon, 19th c.

He grasps her left sleeve, digging his fingers into its folds as if to feel the softness of its fabric. Her right arm rests on the back of his neck. A barred window to the left lets in some light. Among the many fantastic works of art the narrator dreams about is a statue of Venus nursing Cupid, which he describes in openly erotic fashion: Bernardino Luini, Madonna Lactans, before wandered up by the left breast, then turned aside, circled the shoulders and hung down to the water, imitating with wonderful skill the outlines of the sacred members.

The statue indicated motherly love by showing her embracing and nursing Cupid; and the cheeks of both of them, together with her right nipple, were pleasingly colored by the reddish vein. Venus Nursing Adonis Figure 1. Here the nursing theme is connected to the idea of fertility goddesses and Orientalizing hybrid creatures, and it is in this context that another set of Roman Charities emerges in Italy and France in the first half of the sixteenth century.

Brian Curran has shown how the Hypnerotomachia Poliphili with its faux hieroglyphic inscriptions was part of a movement that took pleasure in promoting interest in ancient Egypt, inspiring a variety of artists to experiment with Egyptian themes and decors. Since Herodotus, Isis was understood as an Egyptian version of Demeter, merging with her to form the multi-breasted figure of the Ephesian Artemis.

This page also features representations of obelisks, Egyptian gods, and hybrid creatures as well as two male sphinxes decorated with hieroglyphs — all of them art works known to Renaissance Egypt lovers. In painting this frieze, Cima might have been inspired by the female sea hybrids and putti that Tullio Lombardo and his workshop sculpted for the marble plinths supporting the triumphal arch in Santa Maria dei Miracoli, Venice — This lovely, but long neglected, painting from his Mantuan years preserved at Hampton Court shows a serenely smiling mermaid with what seem to be multiple fishtails.

She tenderly embraces her seven children, five of whom suckle from a like number of breasts arranged in a semi-circle across her chest. Already in the work of Hans Kels and Georg Pencz, interest in the motif of Roman Charity was accompanied by a love for mermaids, but in the visual universe of Giulio Romano, the depiction of breastfeeding Pero took Figure 1.

Giulio Romano and workshop, A Mermaid Goddess Nursing her Young, before place within a multi-faceted system of references to Egyptian motifs, hybrid sea creatures, and mythological lactation scenes. He painted a roundel of a young woman and an old man inscribed with Pietas as part of a frieze for the Villa Trissino — This roundel is flanked by a centaur and a Triton on whose fishtail a naked Nereid lounges seductively, holding a lyre. Another roundel shows a lactating Charity, held by another Triton-and-Nereid couple in the vicinity of a hippocampus and a winged sphinx nursing a mermaid baby Figure 6.

Two double-breasted female statues, split in halves, connect two parts each of this fresco, respectively. Except for their lack of multiple breasts, these statues remind of an Ephesian Artemis, given their outstretched hands and the decorative base that supports their torsos. Nothing about him suggests distress: He is neither chained nor tied or locked up but sits in an open, nondescript environ- ment.

The woman from whom he nurses sits on a chair, clad in a classicizing garment that exposes her bosom and reveals her belly button and a well-shaped leg. Even more puzzlingly, another female figure, dressed in a flowing, revealing garment, approaches from the left, carrying a tree-branch.

These mirrors were most likely unknown to Giulio Romano, but his fusion of Pero with Artemis shows a certain familiarity with Eleusinian cults in which ritual breastfeeding played a role. In his interpretation of the myth, Pero takes the place of a divine nurse. Giulio Romano, Pero and Cimon or Breastfeeding Artemis, before — as well as to the cults of Isis and Demeter, in which milk either renders the recipient divine or protects and regenerates him. She views Pero as yet another kourotrophos, i. With his left hand, he pours water from a jar.

On the west wall of the Camera di Psiche, river gods and goddesses are represented in like fashion, i. Pero seems to pull her father toward her breast by his neck and beard; of Cimon, we see his face in semi-profile, Figure 1. Giulio Romano, Bacchus and Ariane, before a muscular back and arm. The second female figure is elegantly draped in shawls and veils that reveal her belly button and right breast but modestly cover her hair and face.

She watches intently as Pero nurses the naked old man. Perino del Vaga and Rosso Fiorentino, who belonged with Primaticcio to the circle of Giulio Romano, presented yet another approach to the motif. All four of them shared a commitment to Pero and Cimon in their palace decorations such that it emerges as a distinc- tive feature of their art. Breastfeeding Pero 85 Sometime between and , Perino del Vaga created a large-scale fresco of Pero and Cimon at Palazzo Doria that Caravaggio quoted in his altar- piece The Seven Works of Mercy and that Rubens studied in preparation for his own multiple renderings of Roman Charity Figure 1.

Her entire pose suggests a certain nonchalance, which is indicated by her comfortably crossed legs and the casual hand gesture she performs. Other emblems of classicizing elegance are the guards to the left of the big column next to the prison. Dressed in ancient Roman costumes, one of them lounges on the ledge of the prison wall, his naked legs coquettishly splayed. The other two stand behind him in statuesque postures, gesturing as if engrossed in a lively conversation. This is a busy street scene, with beggars surrounding and watching her as she exposes both breasts in an attempt to let Cimon suck; of him, we see only a ghost-like presence behind bars.

The mother-with-child group behind her and the three men to her right create a sense of nervous dynamic. One of the beggars, a completely nude man lying on the street with his head moved back as if in pain, displays a classi- cizing, muscular body with splayed legs. Pero herself is seated comfortably on the ledge below the window, legs crossed, and exudes an aura of casual elegance despite the squirmy child she is trying to restrain. Breastfeeding Pero 87 Figure 1. While the neglect of all earlier versions can be explained by the small size of the artworks, their marginal position in the context of large decorative programs, Figure 1.

The exact role that Pero and Cimon came to assume within the decorative programs of those six palace decorations varied according to the respective contexts and formal properties of the motif, but some parallels do emerge: Roman Charity was habitually positioned in the vicinity of classicizing grotesques or other decorative genres signifying the abundance and excess, whimsy and idiosyncrasy, emotional powers and shock value of mytholog- ical motifs.

But this is a single occurrence that had no afterlife. Leben-Jesu-Tafeln und Misericordien, um und Norderstedt: Books on Demand GmbH, , , Figure The roundel was most likely commissioned by Gerolamo Landriani, provost of the cloister between and , and painted by either Fran- cesco Casella or Galeazzo Rivelli della Barba: In my view, the gendering of the breast- feeding couple is unclear.

Compare to Figure 1. Pietas e allattamento filiale: Danese, and Settimio Lanciotti Urbino: Quattro Venti, , —45, especially , Figure I. Society and Culture in Early Modern France. Stanford University Press, , — Pennsylvania State University Press, , — Newsweek, , 42— Tropes of Lactation in the French Colonial Imaginary ca.

Verlag der Ungarischen Akademie der Wissenschaften, , vol. Allegorien und Geschlechterdifferenz, ed. Valerius Maximus, Memorable Doings and Sayings, ed. Shackleton Bailey Cambridge, Massachusetts: Harvard University Press, , vol. Of the strength of its effect there could be no doubt … The picture is … art: Instead it blatantly, almost palpably, arouses the senses. Furthermore, it does so sexually, or at the very minimum could do so. Systems of Signifi- cation in an Illuminated Manuscript Seattle: Teil, Reliefs und Plaketten Berlin; Leipzig: Krahn from the Bode-Museum for this insight.

Bange, Die Italienischen Bronzen, 56, no. Also the headdress of the nursling suggests that her gender is female. By contrast, Gaston Migeon identifies this plaquette as a representation of Pero and Cimon. Kunstkammerspiele, exhibition catalog, Kunsthistorisches Museum Wien, Skira editore, , Medallion Nr. Breastfeeding Pero 93 31 I sometimes refer to the images of Pero and Cimon in this time period as Roman Charity for reasons of variety, despite the fact that I believe the latter title originates from the early seventeenth century.

Das erste Jahrhundert der Medaille Berlin: Akademie Verlag, , —66, , Edition Diskord, ; first Latin publication Antwerpen The Body in Parts: Fantasies of Corporeality in Early Modern England, ed. Hollstein, German Engravings and Woodcuts, ca. Menno Hertzberger, , , print by Barthel Beham P.

rception des romans: Topics by www.newyorkethnicfood.com

March—3 July , ed. Deutscher Kunstverlag, , 14— Johnson Museum of Art at Cornell University. This gesture has of ten been misunderstood. Yale University Press, , —, especially This is a common motif in sixteenth-century European visual culture Abundance and Excess in the French Renaissance Chicago: The Invention of Pornography: Obscenity and the Origins of Modernity, —, ed. Zone Books, , 49— Renaissance Studies in Honor of Joseph Connors, ed.

Libraria Officina; Cambridge, Massachusetts: Harvard University Press, , — Marienbilder in der Reformation Regensburg: Royal Academy of Arts, , 63— Ashgate, , 79, British Museum Press, , Bildstrategien in den Kupferstichen der deutschen Kleinmeister Petersberg: Michael Imhof Verlag, , November ; Hessisches Landesmuseum Darmstadt, Dezember bis Pierre Le Moyne, La galerie des femmes fortes Paris: Wissenschaftlicher Verlag, , — On Burgkmair, see The Illustrated Bartsch: Sixteenth Century German Artists, vol.

Abaris Books, , 68, 70, On Coornhert, see The Illustrated Bartsch: Abaris Books, , —66, — Netherlandish Artists Philips Galle , vol. Abaris Books, , 97—, — Seile, ; first French ed. Literary and Political Models Ithaca: Cornell University Press, Early German Masters, vol. Abaris Books, , 11, 15, 43, 44, 66, Saur, , — I apologize for using an article printed during the Nazi-era. Heinrich Zimmermann mentions a painting of Pero and Cimon by Pencz in an inventor y of the royal collection in Prague in Dezember , nach Akten des K.

Akademische Druck-und Verlagsanstalt, Arnoldo Mondadori Editore, Mitteilungen aus dem Germanischen Nationalmuseum 4 I am very grateful to Monika Schmitter for alerting me to this and the other inventories. Notai diversi, inventory of Gasparo Segizzi, 15 May , busta 42, c. Cambridge University Press, , Reallexikon zur Deutschen Kunstge- schichte, vol. Metzler, , col. He also shared with me that x-rays of the painting revealed a Mystic Marriage of Saint Catherine underneath. Medieval and Renaissance Lactations: Images, Rhetorics, Practices, ed. On Veronese, see Gianna Pomata, unpublished paper.

The Strife of Love in a Dream, transl. University of Chicago Press, , , —, On Andrea Odoni, see Monika Schmitter, forthcoming book. Franco Cosimo Panini, , vol. Cambridge University Press, ; first Italian ed. Milan, , Perino del Vaga tra Raf faello e Michelangelo; exhibition catalog, Mantova, Palaz zo Te, 18 mar zo—10 giugno, , ed.

Il Palazzo del Principe. Harvey Miller Publishers, , Luchs, The Mermaids of Venice, 81—91, especially More than a century later, a doorknocker embellished with a mermaid Charity was imported from Venice for a palace in Reggio. Luchs, The Mermaids of Venice, Master Designer, exhibition catalog, ed. Hunter College, , 74—97, especially Ein Mysteriumgeheimnis Frankfurt a.

X XI, Fascicolo 2 Rome: Mr and Mrs Walter B. Ford II Fund, On lactation imagery as representing excess and abun- dance, both literally as well as figuratively, especially at Fontainebleau, see Zorach, Blood, Milk, Ink, Gold. Climent-Delteil, Il Rosso Fiorentino, Seemann, , vol. Zur Instrumentalisierung eines mytho- logischen Bildsujets im historisch-politischen Kontext Weimar: Domenico Beccafumi e il suo tempo, ed.

Electa, , — Le Christ mort Paris: The convenience of using the same model for both paintings cannot answer the question, since The Seven Works and The Crucifixion of Saint Peter were completed six years Figure 2. The doubling, fracturing, and reversing of meaning that results from these formal connecting signifiers suggests that the art works in question thrive on a high dose of irony.

In Northern art, the iconography is particularly well represented. Shortly before his death in , already Jan Gossaert drew the scene, imaginatively rendering Pero as a veiled, Madonna-like figure holding a naked baby, with a toddler tugging impatiently at her garment. The Latin inscription in the upper right-hand corner quotes a dictum by Saint John, Figure 2. Lambert Lombard, The Daughter Breastfeeds her Mother, Drawing, before features the nude body of the suckling father in a graceful embrace, with his fully clothed daughter standing slightly bent before him.

Last not least, Theodor de Bry produced an intricate design for the inte- rior decoration of a porcelain cup in , devoted to various themes of charity Figure 2. Roman Master, Pero and Cimon, late 16th c. In fact, his features anticipate a certain resemblance to the physiognomy of Saint Peter alluded to above. The other early oil painting is attributed to a late sixteenth-century Bolognese artist by the Soprintendenza di Roma mentioned above Figure 2.

It is a very Figure 2. Bolognese Master, Pero and Cimon, late 16th c. It depicts a scantily clad Pero in the act of bending backwards to avoid making eye contact with her father.

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Tridentine reformers such as Bishop Gabriele Paleotti —97 were, after all, careful to limit their insistence on decorum to images of sacred content. Nonetheless, it is puzz- ling that of several documented Italian paintings of the motif — in addition to the assumed original of Bernardino Luini, the wished-for Titian, and the early Venetian piece that surfaced on the Viennese art market in — none should have survived except for the two paintings inventoried by the Roman Soprin- tendenza.

Nonetheless, the craze for gallery paintings of Pero and Cimon starting in —12 hit Italy, France, the Southern Netherlands, and Utrecht equally hard; even Spanish painters such as Ribera and, later, Murillo participated in it. What surfaces is a politically provocative gallery picture in an era of Catholic militancy and empire-building. Most viewers would probably start to approach it by examining the unusual and well-lit breast- feeding scene to the right, as Bellori did. Her dress falls in elegant folds, mainly because Cimon seems to be using her upper skirt as a bib.

In fact, her milk streams so abundantly that drops collect on his beard. Pero seems to have heard some noise — perhaps the screaming man with a torch behind her — because she startlingly turns her head to observe the men to her side. She seems breathless and scared, perhaps anxious to satiate her father before being chased away. The host points to a location outside of the picture plane.

Behind them, a tall, sweaty man drinks water from what art historians have called the jawbone of an ass, which serves to identify him as the biblical figure of Samson. Except for Pero, who watches the six men to her right, everybody is intently absorbed in their activities. On this bustling street corner, all seven mandatory works of mercy are performed simultaneously, as if they were everyday activities that deserve no further mention, praise, or comment: The upper forty percent of the picture plane is populated by four divine figures, densely arranged in a vortex-like composition.

The right angel embraces — and possibly tries to hold back — the left one, who stretches his arms as if to arrest the scene below. Christ, who is no longer a baby but a pre-teen, looks tenderly, and perhaps amusedly, at Pero, while his mother watches her with a rather stern expression, frowning. After all, it is no longer she who is allegorically nursing needy mankind; the job seems to have passed on to Pero, leaving the Virgin unoccupied, watching from her post in heaven.

This substitution is the single-most creative, and provocative, iconographic reinterpretation in the history of Charity and the Madonna Lactans. To remind the protagonists that Christ should be the ultimate recipient of all acts of charity? To end their self-absorption and oblivion? Does this mean that the entire scene would not exist if it were not illuminated by and for the artist and his audience? That it is the observer for whom the scene is taking place like a tableau vivant?

Unlike Rosso and later French artists, Caravaggio does not merge the motif with Charity by adding a child but refers to the erstwhile nursing Madonna in order to enhance the scene religiously. While his choice of a street scene is motivated by composi- tional reasons — how else could he have integrated the other five acts of mercy? Never again would the lactation scene be depicted from the outside through the bars of a prison window. Never again would Pero be competing with the Madonna in terms of charitable nursing.

And only one artist would take up his challenge of dissolving the allegory of lactation into a larger narra- tive composition. That it had to be Poussin, his greatest foe, is not only ironic but also indicates that his lesser admirers found it hard to engage with the overall composition of the Seven Works of Mercy and the complex religious content matter it expressed. This painting, of a hitherto unusual subject matter, illustrates how Peter denied his acquaintance of Jesus the night of his arrest after being denounced by a servant woman and a man while warming himself at a campfire, an event recorded in all four gospels Matthew It shows three half-length figures standing up close.

To the left is a soldier wearing a fancy helmet, which Battistello Carracciolo quotes in his Liberation of Saint Peter, the companion piece to the Seven Works of Mercy. Both are pointing to Peter in the act of making their accusations. His face is illuminated a bit better than the other two, perhaps from the fire located in front of the painting outside the picture plane, such that his sweaty fore- head and nose reflect the light.

His facial expres- sion shows stress or grave concern. Peter then became aware of his betrayal and started weeping. A similar gesture is repeated by the so-called Pensionante del Saraceni in his minimal version, featuring Peter and the maid only, 46 while the painting believed to be by Jusepe de Ribera in the Certosa of San Martino, which might be the work that Bellori wrongly attributed to Caravaggio, shows the apostle raising both hands in unambiguous defiance.

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In the Prado copy, the apostle raises his right hand in a gesture of rejection. As Marcia Hall observes, the capacity of a painting to move the spectator to worship is among those qualities. Luisa Vertova points out that contrition and repentance are core values of Catholicism, but she neglects to mention that Caravaggio represents the apostle in the act of betrayal rather than contrition and that Counter-Reformation Catholicism was not exactly known for its generosity toward skeptics, dissenters, or apostates.

Caravaggio, The Madonna of Loreto, —06 Dominic, Saint Peter Martyr at another monk standing in front of him, the latter one at the Madonna and her child, and a fourth monk at Saint Domi- nic. In Luhmannian terms, the task of the second-order observer — in this case, the artist and his audience — consists of monitoring the choices made by the protagonists engaged in first-order observations, who, as already mentioned, are charged with distinguishing between who and what belongs to the system sacred or the environment not sacred. Rather than making paintings fit for worship, as some art historians claim,71 Caravaggio encourages skepticism, doubt, and scrutiny in his audience.

Other depictions of the first of the apostles are similarly inflected by reference to Roman Charity. The sticky question of guilt and repen- tance is never broached. Paintings of Pero and Cimon were very common in seventeenth- and eighteenth-century Neapolitan collections 11 copies , where inventories refer to them without fail as Roman Charity. Benedict Presented with Gifts by Farmers , and ends with the eighteenth-century identification of a young woman as Beatrice Cenci in a painting attributed to Guido Reni.

In all three instances, the young women wear turbans. Stefano Maderno, Saint Cecilia, represents Figure 2. Beatrice, alongside her older brother and stepmother, was convicted of parricide, after having been held hostage by her father in a remote castle for several years. Because Francesco Cenci was known for his violence and sexual abuse, the defendants and their many supporters expected the pope to pardon his son, daughter, and young wife, but in vain. Caravaggio used the public image of a turbaned Saint Cecilia, which contains references to the merciless execution of Beatrice Cenci, to endow his breastfeeding daughter with an allegorical identity signifying the innocence, courage, and sacrificial energy of the city of Rome and its inhabitants.

The Caravaggesque Moment Figure 2. Saint Peter is about to touch the wound, recal- ling Saint Thomas in his incredulity. The painting from Geneva, associated with the school of Guido Reni, contains, quite literally, a reverse image of Roman Charity Figure 2. In addition to associations between Pero and Saint Agatha and between Cimon and Saint Peter, other, less convincing, cross-identifications have been made.

The dialectic between the exclusion of needy persons from the list of welfare recipients and their very much sought after representation in religious art has recently attracted the attention of art historians. In late sixteenth-century Rome, pauperist members of the elite competed for participation in the ritual staging of this event, as did Venetian patri- cians earlier in the century. Yet his figures are also grand, and his massive, sculptural style conveys the power of a primitive, heroic era.

At the same time, they cannot avoid being re-allegorized as embodiments of noble poverty and Roman Charity, respectively. As such, Pero and the beggar are endowed with a symbolic significance that exceeds their role as literal representations of the Neapolitan underclass.

This enabled staunch promoters of Tridentine Catholicism such as Peter Paul Rubens and Guido Reni, who only briefly toyed with Caravaggismo and avoided the theme of Denial, to produce quite a few Roman Charities of their own. Up until now, Roman Charity has been systematically overlooked as a subject matter favored by many Caravaggisti, despite the frequency with which painters all over Europe started to depict it after Already two decades ago, Anna Tuck-Scala deplored this neglect, but no art historian has followed her suggestion of investigating the phenomenon in greater depth.

It can only be explained by a variety of mutually reinforcing factors: He imitated life with great truthfulness and painted for the most part half- length figures true to life, and elaborated on his conversations, gambling-and tavern scenes, soldiers and other such perfect works. The couple is in an undefined, dark interior space into which light falls from the left, probably through a window behind which guards are approaching.

She is situated to the right, her bosom and face illuminated by an invisible light source placed to the left. He is seated, wrapped in a brown cloak, holding both hands in chains in front of his body. While we cannot identify his facial features, his bushy white beard and barely visible frown place him squarely in the vicinity of the prototype developed for representations of Saint Peter. He does have a bushy white beard and receding hairline, however, just as Cimon in the Seven Works of Mercy. The Cimon figure from his prior Roman Charity vaguely conforms to the prototype as well, but given the poor quality of the old reproduction, details are hard to make out.

Abraham Bloemaert, Roman Charity, surroundings. The painting is quite original in its composition, compared with prior renderings of the topic by Northern European and Italian artists. The scene is very intimate, tender, and quiet: Pero observes her father feed, resting her left hand on his naked shoulder, while Cimon concentrates on his suckling.

The couple is oblivious to the beholder as well as any danger of interruption. His body is marked as fully masculine through his sinewy muscles and full beard, despite the fact that he is engaged in the most infantile of all activities. All subsequent versions attributed to Rubens have the same focus: Again, he is fully naked except for a piece of white cloth and a green blanket loosely draped around his genitals and upper legs.

Followers of Rubens copied this painting, not without introducing the novelty of a baby sleeping at the feet of the couple. A similar version, last seen on the London art market in and dated to , is also attributed to Rubens Figure 2. All three versions that can be securely attributed to Rubens himself — dated —12 Hermitage , London art market , and Amsterdam — have been disseminated in the form of prints. He did not travel to Naples but Figure 2. He also spent extended time periods in Mantua —05 , where he could have seen the relief designed by Giulio Romano.

Several scholars have remarked that Rubens was inf luenced by a variety of painters during his stay in Italy — , including Caravaggio. Dirck van Baburen, Roman Charity, stands out because of its cento-format, consisting entirely of quotations from ancient authors. Above all, it performs stoic self-restraint.

In this latter sense, the motif of Roman Charity is of almost programmatic importance, as it highlights the undoing of a guilty patriarch and his salvific regression into dependence on his daughter. Pero seems startled, indicating that it is the moment of disco- very the artist caught on canvas; even Cimon looks to the left in anticipation of an imminent interruption. Dirck van Baburen, Roman Charity, —24 to Caravaggio. Also, Pero wears a turban wrapped around her head that does not reveal a single strand of hair. In this painting, Cimon looks less muscular; his features, with frown, grey beard, and deeply receding hairline, do conform to the prototype of Saint Peter.

Pero wears a turban and a precious gown that reveals her left bosom and shoulder.

Her left arm seems elongated and misplaced. This time, the noise that upsets Pero comes from the right, even though the window seems located on the left, judging from how the light enters the picture Figure 2. His hands tied to the back, he concentrates on suckling, while Pero is alert and slightly startled, looking out of the picture plane.

Cimon looks in the same Figure 2. The Potsdam copy attributed to his brother Willem is of lesser artistic merit. Pero, fully clothed, looks startled to the right, where a prison guard is just about to burst through an opened door, making a hand gesture of arrest. We have no extant Roman Charity by the third major Utrecht Caravaggista, Hendrick ter Brugghen — , even though Andor Pigler and Benedict Nicolson attribute a copy to him, last seen in Amsterdam, , as part of the Peronneau collection.

Other Dutch artists with a strong Utrecht connection also painted Roman Charities: Cimon has not yet put her rosy nipple to his mouth, first wanting to make eye contact with his daughter; she, however, averts her eyes sweetly and modestly. Like Rubens, Moreelse depicts the couple without hurry or fear of interruption, quietly immersed in their acti- vity. He is entirely naked except for a tiny transparent loincloth, exposing his body to a bright light in an otherwise pitch-dark prison interior. His body is muscular but shows signs of aging such as folds around his belly and neck.

He is utterly helpless, as both feet and hands are chained. Seated on a bench, he bends over to reach the breast of his daughter, who is cast in shadows except for her bosom and face. Flemish artists other than Rubens also depicted the theme, such as Jan Janssens ca. Even Seghers, who in addition to his two potential Roman Charities painted ten! Its relation to art use or production has not yet been considered. In nearby Flanders, the more overt political connotations receded in favor of a view of patriarchal vulnerability and weakness. The pain- ting is a close-up of Pero, whose ample bosom and entranced face present themselves to the voyeuristic pleasure of the spectator, who is near enough to be brushed by the abundant folds of her silken sleeve.

Nonetheless, Cimon is engulfed by the heavy corporeal presence of his daughter. This Pero stares directly at the beholder, undisturbed in her charitable task. Pero still directs her eyes heavenward but seems more poised. Cimon is not chained or otherwise placed in a prison interior. Other followers of Caravaggio who traveled to Rome and seem to have painted a Roman Charity, but whose paintings are no longer extant, are Jusepe de Ribera — and Valentin de Boulogne — They are a painting held in Marseille Figure 2.

No other human could possibly surprise the two in their intimacy, given the amorphous, utopian darkness that surrounds them like a protective shield. In those three paintings believed to be by Reni, Pero is mystically enhanced as a source of grace, which is indicated by the extra-terrestrial light emanating from her bosom. Cambridge University Press, ; first It. Bellori, The Lives of the Modern Painters, Percorsi e protagonisti, ed. Das Museum, , Subjects from History, vol.

Harvey Miller Publishers, , 97— Stephen Pepper identifies a total of nine paint ings under this title for Guido Reni, attributions that most other art historians and museum curators find insecure, however. Stephen Pepper, Guido Reni. Istituto Geografico di Agostini, ; first English ed. London, , The Caravaggesque Moment 9 The Judgment of Cambyses refers to a story in Herodotus, according to which the son of a corrupt judge had to render justice on a seat furnished with the skin of his father, who had been flayed alive for his crimes by the Persian King Cambyses II.

Zaleucus was the first Greek ruler to write up a law code in the seventh century BCE , and shared with his son the punishment for adultery he himself devised: This female figure could be compared to representations of the Madonna with baby Christ and Saint John the Baptist, or with depictions of Charity.

Un grand maître dunkerquois: Il les séduit et les séquestre (Polars en Nord t. 99) (French Edition)

For the attribution of this drawing to Gossaert, see J. En pia nata suum proprio fouet ubere patrem ille senex duro carcere pressus erat. Sound and Vision, , This is not what Friedlaender intended to say. Slatkes, Dirck van Baburen c. Quattro Venti, , 93—, especially 93— Istituto poligrafico dello stato, , vol.

Libreria Editrice Vati- cana, ; first ed. Dolman, , —89; http: Princeton University Press, ; J. Pocock, The Machiavellian Moment: Nel Regno dei Poveri: His Followers in Rome, ed. Yale University Press, , — Fried, The Moment of Caravaggio. Diaphanes, ; first Fr. Richard Judson and Rudolf E. Ekkart, Gerrit van Honthorst — Doornspijk: Davaco Publishers, , 8. Akademie Verlag, , Le Sette Opere di Misericordia Salerno: Mondadori Electa, , Cappelletti dates his stay in Genoa to August 6—17, Realism, Rebellion, Reception, ed.

University of Delaware Press, , 69—81, especially Bollati Boringhieri, ; first ed. Il Pio Monte della Misericordia di Napoli nel quarto centenario, ed. Electa Napoli, , —90, especially Percorsi e protagonisti; Nicolson, Caravaggism in Europe. Nicolas Tournier et la peinture caravagesque en Italie, en France et en Espagne, ed. On Counter-Reformation politics, see the vast bibliography on surveillance and confessionalization, the prosecution of Jews and heretics by the inquisition, and the criminalization of dissenters in late sixteenth- and early seventeenth-century Rome.

Regarding the latter, see, among others: Barberini Cultural Politics Leiden: Giulio Einaudi Editore, , Mercredi 11 Janvier - Vendredi 06 Janvier - A quelques semaines du 30e anniversaire de sa mort, Dalida fait l'objet d'un biopic qui sort ce mercredi dans les salles. Lundi 02 Janvier - Vendredi 11 Novembre - Mercredi 16 Novembre - Mardi 15 Novembre - Jeudi 17 Novembre - Mercredi 09 Novembre - Mardi 01 Novembre - Jeudi 27 Octobre - Jeudi 20 Octobre - Lundi 10 Octobre - Vendredi 07 Octobre - Mardi 04 Octobre - Vendredi 23 Septembre - Mardi 20 Septembre - Jeudi 08 Septembre - Remake des deux premiers films de et , "S.

Parmi les acteurs principaux, Margot Robbie attire l'attention. Dimanche 10 Juillet - Le film "La couleur de la victoire", qui sort ce mercredi, raconte son histoire. Jeudi 07 Juillet - Mardi 12 Juillet - Les lois de l'Univers". Jeudi 30 Juin - Lundi 27 Juin - Mardi 21 Juin - Vendredi 10 Juin - Mardi 07 Juin - Mardi 31 Mai - Dimanche 22 Mai - Mardi 17 Mai - Mardi 10 Mai - Lundi 11 Avril - Mardi 26 Avril - Les Avengers reviennent ce mercredi avec "Captain America: Vendredi 08 Avril - Mercredi 06 Avril - Mardi 29 Mars - Mercredi 23 Mars - Avec "Batman V Superman: Dimanche 13 Mars - Lundi 07 Mars - Mercredi 02 Mars - L'acteur et le film sont les grands favoris des prochains Oscars, dimanche soir.

Un film virtuose qui est davantage qu'un biopic traditionnel sur le fondateur d'Apple. Mardi 19 Janvier - Lundi 18 Janvier - Lundi 11 Janvier - Mardi 05 Janvier - Dans le film "The Big Short: Et raconte une histoire d'amour qui se passe en Inde. Mardi 24 Novembre - Lundi 16 Novembre - Mercredi 11 Novembre - Mardi 03 Novembre - Mardi 27 Octobre - Mardi 13 Octobre - Mardi 06 Octobre - Les philosophes ont beau tout imaginer sur le sens de la vie, rien n'est plus fort que le hasard.

Vendredi 02 Octobre - Lundi 28 Septembre - Mardi 22 Septembre - Dimanche 13 Septembre - Mardi 08 Septembre - Michael Caine et Harvey Keitel, roulez vieillesse! Il raconte la vie d'une famille de Sri-Lankais qui entament une nouvelle vie en France. Impossible — Rogue Nation": Et Tom Cruise y est au top de sa forme. Mardi 28 Juillet - Mercredi 22 Juillet - Vendredi 10 Juillet - Mardi 07 Juillet - Mardi 30 Juin - Il raconte trois histoires oniriques et fantastiques au temps du Moyen-Age.

Mardi 23 Juin - Mercredi 17 Juin - Mardi 09 Juin - La parc est ouvert. Les effets sont plus spectaculaires que jamais et la vedette, le nouveau dinosaure Indominus Rex, ferait passer le T-Rex pour un gentil caniche. Mercredi 03 Juin - Mercredi 27 Mai - Mercredi 20 Mai - Mercredi 13 Mai - Mardi 05 Mai - Mercredi 29 Avril - Lundi 20 Avril - Vendredi 10 Avril - Mardi 07 Avril - Mardi 31 Mars - Mercredi 25 Mars - Mercredi 18 Mars - Pierre Niney joue les menteurs.

Mardi 10 Mars - Mardi 03 Mars - Oscar du meilleur film: Clint Eastwood le franc-tireur revient. Mercredi 28 Janvier - C'est la fin du suspense pour les spectateurs qui l'attendent depuis des mois: Mardi 27 Janvier - Mardi 20 Janvier - Mercredi 14 Janvier - Mercredi 07 Janvier - Angelina Jolie raconte le destin exceptionnel de Louis Zamperini. Ridley Scott ressuscite les Dix Commandements.

Jean Dujardin fait revivre le juge Michel. Le juge et le truand: Mardi 25 Novembre -