hubbychu: Doubting Thomas, 1602 Michelangelo Merisi da Caravaggio Sanssouci, Potsdam Oil on canvas 107 x 146cm “People still wince when they see Thomas’ finger stretching the skin over Christ’s ribcage and probing the bloodless slit. Thomas was an austere study in browns of four figures, bare of objects and setting, a man showing his operation scar to his workmates. The four figures were locked into a powerful composition of heads, hands and shoulders, the lines of fold in cloth, wrinkles in brows, strands of hair. Thomas and the other apostles were burly, bent, tanned and creased with outdoor work, and the browns were their glowing life. The Christ was young, slim and ringleted, but dead – or formerly dead – and the painting took its power from the subtlety with which it played on his likeness and unlikeness to them, his closeness to them and separateness from them. His face in half-shadow showed the kind of abstracted intentness with which anyone might study an old spear wound between their ribs, raised to another level of regret.” (M, Peter Robb, 1998)

hubbychu:

Doubting Thomas, 1602

Michelangelo Merisi da Caravaggio

Sanssouci, Potsdam

Oil on canvas 107 x 146cm

“People still wince when they see Thomas’ finger stretching the skin over Christ’s ribcage and probing the bloodless slit. Thomas was an austere study in browns of four figures, bare of objects and setting, a man showing his operation scar to his workmates. The four figures were locked into a powerful composition of heads, hands and shoulders, the lines of fold in cloth, wrinkles in brows, strands of hair. Thomas and the other apostles were burly, bent, tanned and creased with outdoor work, and the browns were their glowing life. The Christ was young, slim and ringleted, but dead – or formerly dead – and the painting took its power from the subtlety with which it played on his likeness and unlikeness to them, his closeness to them and separateness from them. His face in half-shadow showed the kind of abstracted intentness with which anyone might study an old spear wound between their ribs, raised to another level of regret.” (M, Peter Robb, 1998)

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Posted on Monday, 6 February
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