From Leonardo to Caravaggio: Affective Darkness, the Franciscan Experience and Its Lombard Origins
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Open AccessArticle
Department of Art, Old Dominion University, Norfolk, VA 23529, USA
Arts 2024, 13(2), 68; https://doi.org/10.3390/arts13020068 (registering DOI)
Submission received: 5 February 2024
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Revised: 30 March 2024
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Accepted: 2 April 2024
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Published: 6 April 2024
Abstract
The function of affectivity has generally focused on post-Council of Trent paintings, where artists sought a new visual language to address the imperative function of sacred images in the face of Protestant criticism and iconoclasm, either guided by the Council’s decree on images, post-Tridentine treatises on sacred art, or by the Counter-Reformation climate of late Cinquecento and early Seicento Italy. This essay redirects the origins of the transformation of the function of chiaroscuro from objective to subjective, from corporeal to spiritual, and from rational to affective to a much earlier period in late Quattrocento and early Cinquecento Milan with Leonardo da Vinci. By tracing the transformation of chiaroscuro as a vehicle of affect beginning with Leonardo’s Virgin of the Rocks, it will become evident that chiaroscuro became a device used to focalize the viewers’ experience dramatically and to move viewers visually and mystically toward unification with God under the influence of the Franciscans.
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MDPI and ACS Style
Muraoka, A.H.
From Leonardo to Caravaggio: Affective Darkness, the Franciscan Experience and Its Lombard Origins. Arts 2024, 13, 68.
https://doi.org/10.3390/arts13020068
Muraoka AH.
From Leonardo to Caravaggio: Affective Darkness, the Franciscan Experience and Its Lombard Origins. Arts. 2024; 13(2):68.
https://doi.org/10.3390/arts13020068
Chicago/Turabian Style
Muraoka, Anne H.
2024. “From Leonardo to Caravaggio: Affective Darkness, the Franciscan Experience and Its Lombard Origins” Arts 13, no. 2: 68.
https://doi.org/10.3390/arts13020068
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