Author: Gary Kirkpatrick
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Pleading the 5th
Digital painting -
Not even that Louse
All print prices below are for the size indicated. Other sizes upon request.
High quality prints $35.00, A3 30 x 42 cm/12″ x 16.5″
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Best quality glicee print signed 1 of 50, A3 30 x 42 cm/12″ x 16.5″
[wp_paypal button=”buynow” name=”Not even that Louse glicee print” amount=”60.00″]
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Biergarten in Minden
Biergarten in Minden, Germany acrylics on paper 54 x 75 cm/21.25 x 29.5 The design accentuates the flow of the river from left to right. Children bath on the far bank done in impressionist style. The otherwise expressionistic painting has a rich and wide range colors.
Minden is a small town on the junction of the Mittelland Kanal and the Wesser River. The canal crosses the river via a beautiful old aqueduct dating from 1890. It was my wife’s birthday so we chose this place, Biergarten Schiffmuhle Minden, largely because of the lovely view of the river from the outdoor tables. We enjoyed the schnitzel too.
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Double Bubble (anti-Trump)
Digital painting, prints only -
Pen and ink of Roman Bronze
Roman Statute, pen and ink and brush, 30 x 40 cm/11.8 x 15.7″ This piece stands in the Museo Nazionale Palazzo Massimo, next to the Seated Bronze. It is life size at least, an amazing bronze sculpture.
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Portrait of Woman
Portrait of Woman, pen and ink and brush, 30 x 40 cm/11.8 x 15.7″ -
Boat in Kalenburg
pen and in 32 x 41 cm/12.6 x 16.1″ Kalenburg is a tiny village that is split by the canal. It is perhaps the most lovely navigable canal section in the country. Geithoorn is overall more charming but its canals are too small for boats in the size range of our 12 meter boat Viking. I write about it here https://garyjkirkpatrick.com/wandering-about-the-netherland-east-part-2/
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Drawings of Caravvagio paintings
After seeing the Caravaggio and His Times Exhibit in Rome last week I did some rough-ish drawings of some of his paintings in conte crayon. The man certainly could draw very well in the manner of his day. That did not make him unusual as an artist for that time. Rather it was his perfecting the dramatic use of lighting in his paintings.
From Boy Bitten by Lizard 
from The Musicians 
St Francis of Assissi in Ecstasy 
From Bacchus -
Caravaggio, Influences and Followers
Michelangelo Merisi (Michele Angelo Merigi or Amerighi) da Caravaggio 1571 – 1610) is commonly known as Caravaggio. He is the subject of an exhibition at the Capitoline Museum in Rome, Il tempo di Caravaggio (Caravaggio’s Time) that displays items from the collection of Roberto Longhi. Longhi was a Professor of Art History at the University of Bologna and later at the University of Florence. His 1911 dissertation was about Caravaggio. His exhibitions on the painter in the 1950’s spurned interest in Caravaggio, who had been largely forgotten.
Here I will show you examples of the work of Caravaggio and other artists featured in the exposition. Photos were not allowed so I had to use photos I found in the public domain. I did not note the names of the paintings so I used examples that show affinity to Caravaggio.
Otavo Leoni (1578-1630)
Portrait of Caravaggio by Ottavio Leoni, included here just for curiosity’s sake Caravaggio is a master of light. He did not invent the approach but he did it with great skill, igniting an international following. Here is a good example of his approach, allowing a good comparison to the paintings of his followers that follow below.
The Taking of Christ, Caravaggio 1602, National Gallery of Ireland, Dublin. 
Boy Bitten by Lizard, Carravaggio, in the Longhi Collection. This work is far less dramatically lit than the works for which he has become so famous. Battista de Moro (1512 – after 1568) is one of few painters, perhaps the only in the exhibition, who came before Caravaggio.
Santa Nicola Agostino and Antonio Abate, 1535 Contemporaries
Bartolomeo Passrotti (1529–1592) worked primarily in his hometown of Bologna.
Bartolomeo Passrotti Le Pollarole Pier Francisco Mazzucchelli 1573–1626
Beheading of St John the Baptist (Decollazione del Battista), Mazzucchelli Angelo Caroselli or Carosèlli (1585–1652)
Angelo_Caroselli, Singing Man Domenico Fetti (c 1589-1623)
La Meditazione, Domenico Fetti 1618 Valentin de Boulogne (c 1591 – 1632) French
Valentin de Boulogne, John and Jesus Gerrit Van Honthorst
Gerard van Honthorst, Granida and Daifilo Gioacchino Assereto (1600-1649)
Gioacchino Assereto, Death of Cato Giovanni Andrea de Ferrari (1598–1669)
Ferrari, Semiramis Receiving Word of the Revolt of Babylon Dirck Van Baburen Dirck Jaspersz. van Baburen (c. 1595 – 21 February 1624), Dutch and one of the group called the Utrecht Caravaggisti.
Lute Player, Babur Compare to Caravaggio’s painting of a lute player below 
Lute Player by Caravaggio Matthias Stom or Matthias Stomer (c. 1600 – c 1653) was Dutch or Flemish. He was influenced by the Utrecht Caravaggiasts.
Matthias Stom, “The Death of Brutus” ... The Times of Caravaggio opens with four small panels by Venetian Lorenzo Lotto who inspired Caravaggio’s interest in bright light, and Bolognese Bartolomeo Passarotti’s canvas of a market scene, which possibly triggered his obsession for still lifes and portraits of “low-class” people. Of particular interest in this first of five rooms is Longhi’s canvas, A Boy Peeling Fruit. There are three other copies of this early work all dating to 1592-93, all believed by many scholars including Longhi, who included it in the 1951 exhibition, to be Caravaggio’s earliest work painted upon his arrival in Rome. …Longhi also suggested that Caravaggio borrowed the motif of the bitten finger from a Boy Bitten by a Crab, a drawing by a prominent Renaissance artist Sofonisba Anuissola. As for the model, some scholars suggest Mario Minniti, Caravaggio’s companion and the model for several other Caravaggio paintings. Others believe it is a disguised self-portrait.
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Palazzo Venezia over centuries
Palazzo Venezia faces Piazza Venezia and the monument to Vittorio Emanuele, the king appointed at the time of the unification of Italy in 1861. It’s a huge building and not much to look at from the outside, and is surrounded by heavily trafficked streets and a huge number of bus stops. It is now a museum. It’s 162 steps up to the museum level, itself containing huge chambers, two of which measured 33 meters or about 100 feet in length. There is an elevator for those unable or unwilling to make the climb.
We probably had the place to ourselves, except for the guy I thought at first was a security guard who wanted to tell us something about the palace. But then he did not leave and provided running commentary.
Palazzo Venizia (1455-67) was built for the Venetian cardinal Pietro Barbo, later called Pope Paul II. He continued to reside in it after election to the papacy. They used travertine from the Coliseo (Coliseum) and the Teatro de Marcellus. Pope Pius IV gave the building to the Republic of Venice, thus giving the palace its name (Venezia is Venice in Italian). In 1797 it became the embassy of Austria to the Holy See. In 1929 Mussolini chose it as his headquarters and it is from the huge room decorated with chiaroscuro columns that he gave the speech from the tiny balcony seen in newsreels in which his smug expression and macho strutting are clearly visible.
Mussolini address the crowd from the small balcony holding 1 or 2 people at a time 
There is a library of archaeology and the history of art used by scholars from around the world.
Aside from large chambers of state and the tranquil papal garden, the museum houses terracotta sculptures by Bernini, a huge ceramics collection gifted to Mussolini, numerous portraits and other paintings, including one that I believe to be a good example of the style later perfected by Caravaggio.
Due Amici, Girogio Castelfranco circa 1502 
Cleopatra, Carlo Maratta, also using the light to focus the viewer’s attention