Caravaggio

'... a strong and engaged spectrum of essays by leading scholars that reflects the range and depth of Caravaggio scholarship today. It constitutes a milestone contribution to our understanding of this artist and his complex historical reception, as well as the range of approaches currently at work in the study of early modern European art.' Genevieve Warwick, University of Edinburgh, UK and Editor, Art History 'This is a distinguished collection of original essays by well-established scholars of Italian Baroque art and Caravaggio in particular. It is remarkable for the diversity of questions asked and methodological resources deployed in answering them. Such is the sureness of scholarship that underpins each essay, however, that there is little to no contradiction among them. Taken as a whole, the volume of essays contributes to a fuller understanding of Caravaggio that is greater than the sum of its excellent parts.' Charles Dempsey, Professor of Italian Renaissance and Baroque Art Emeritus, The Johns Hopkins University, USA 'The ancestor of this volume is unmistakably Genevieve Warwick's Caravaggio: Realism, Rebellion, Reception ... The inclusion of several 'stars' of the discipline, some of them featuring in both collections, the ambitious framework and the guaranteed future importance make Reflections and Refractions an obvious successor.' Oxford Art Journal 'Matters of technique, attributions, and patronage are dutifully explored ... empathy, sound, touch and Caravaggio's critical fortunes receive enlivening treatment.' Art Newspaper 'This collection of 14 essays by recognized experts presents thoughtful and authoritative discussion of crucial aspects of Caravaggio's character, his oeuvre, and his milieu. ... these essays will shape future Caravaggio studies. Recommended.' Choice '... riveting in its insights, breathtaking in its original methodologies, and standing out as an unsurpassably comprehensive foray into Caravaggio's art.' Seventeenth-Century 'This volume ... does stand out from the mass of other recent publications both in the distinction of its contributors and the nuanced and scholarly grounding of its arguments within historical and artistic content. ...[It] provides a welcome variety of potential approaches to the study of Caravaggio and seventeenth-century art in general, and will be of particular value in introducing students to the methodological possibilities that the artist stimulates.' CAA Reviews