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Masters of Art: Caravaggio Hardcover – September 1, 1989

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Editorial Reviews

From Library Journal

Michelangelo Merisi da Caravaggio (1573-1610) of Lombardy lived a life fraught with violence, yet his paintings were sought after by wealthy patrons of his day. Moir here provides an illustrated introduction to this complex artist known for his heightened chiaroscuro and his realistic form in painting. But be advised that the text of this glossy volume is reprinted from the author's earlier work of the same title, which appears in Abrams's more ambitious series, "The Library of Great Painters." The earlier edition may already be in public and academic collections and is preferred for its index and biographical notes with scholarly attributions. This scaled-down version contains neither, and lacks footnotes as well. Still, with its 40 color plates, it ought to appeal to high school students and interested lay persons. Recommended with above caution; libraries with the earlier book need not consider.
- Ellen Bates, Bank of America, New York
Copyright 1989 Reed Business Information, Inc.

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Product Details

  • Series: Masters of Art
  • Hardcover: 126 pages
  • Publisher: Harry N. Abrams (September 1, 1989)
  • Language: English
  • ISBN-10: 0810931508
  • ISBN-13: 978-0810931503
  • Product Dimensions: 9.2 x 0.6 x 12.2 inches
  • Shipping Weight: 2.5 pounds
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (6 customer reviews)
  • Amazon Best Sellers Rank: #1,056,265 in Books (See Top 100 in Books)

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10 of 10 people found the following review helpful By Grady Harp HALL OF FAMETOP 100 REVIEWERVINE VOICE on December 4, 2005
Format: Hardcover
Though this Harry N. Abrams 1989 monograph on Caravaggio is dated and not at all the thorough investigation of a fascinating painter's influence on the history of making and living art, Alfred Moir's CARAVAGGIO does offer an exception introduction to the painter's work. The biography is confined to the opening forty pages and contains enough of the highlights of Caravaggio's career to pique the interest. But the real pleasure of this 'old standard' book is the presentation of the color plates of many of Caravaggio's most interesting works. These are not crowded, each painting being given its own single page opposite which is a fine discussion of the painting both technically and about the subject.

For a fine quick reference book for the paintings addressed in the continuing stream of biographies of Caravaggio written today, this volume is a perfect foil. Just don't expect a scholarly volume or excessive detail. Grady Harp, December 05
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9 of 10 people found the following review helpful By S. Bogaczyk on November 23, 2001
Format: Hardcover
Wonderful slick pages. Clear, realistic colors and appropriate collection in black and white. I recommend this book as an intro to Caravaggio's paintings, but in substance I recommend as comparative reading to Peter Robb's The Man Who Became Carravaggio. OUTSTANDING comparisons of this master's life and works can be considered. Together, this was my favorite read of the year.
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8 of 11 people found the following review helpful By A Customer on May 9, 2001
Format: Hardcover
His "Incredulity of St Thomas," with the focus on Thomas's prodding and Christ's reassuring hands, and his "Madonna of Loreto," with the Virgin and Child approachably compassionate to the muddy-footed pilgrims in rumpled clothing, have been much copied. His "Entombment" has been unanimously acclaimed: with only Christ's and Mary Cleophas's faces fully illuminated; with Nicodemus supporting the dead legs while hunching over to look straight into viewer eyes; and with the Virgin blessing all. But it was his "Lute Player" that CARAVAGGIO called his most beautiful picture: with the tenor score to 16th-century madrigalist Jacques Arcadelt's "Voi sapete ch'io v'amo [You know that I love you]" open for the tenor lute; with the unique horizontal balancing of boy and freshly blooming bouquet of vividly colored flowers; and with the window light source reflected on the carafe. The colorplates in Art History Professor Alfred Moir's book are of such photographic quality that readers clearly see the 17th-century artist's studio window light source reflected in the carafe within his "Boy Bitten by a Lizard." The compellingly thorough text and the author's ANTHONY VAN DYCK prepare readers to go on to the other giants of his time, with Jose Alvarez Lopera's EL GRECO, Kristin Lohse Belkin's RUBENS, Jonathan Brown's VELAZQUEZ, Ludwig Munz's REMBRANDT, and Arthur K. Wheelock's JAN VERMEER.
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