Yeni Bir İlişkisellik Kipi: Bersani ve Dutoit’in Caravaggio’su

Bu makale Leo Bersani ve Ulysee Dutoit’in, ünlü İtalyan ressam Michalengelo Merisi da Caravaggio’nun resimlerinin yeni bir ilişkisellik taşıdığı yönündeki ilgi çekici iddiasına odaklanmaktadır. Bersani ve Dutoit, birlikte kaleme aldıkları Caravaggio’nun Sırları (Caravaggio’s Secrets) adlı kitapta bu radikal sanatçının eserlerini psikanalitik yaklaşıma karşıt şekilde antropomorfik olmayan bir perspektifle analiz eder. Onların titiz çalışmasında Caravaggio, benliği ve benliğin sosyallikle olan bağını öyle eşsiz şekilde resmeden bir ustaya dönüşür ki resimleri görülmemiş bir ilişkiselliği sunmanın yanı sıra yeni bir sosyallik kipini de öngörür. Bu çalışma Bersani ve Dutoit’in iddialarını Caravaggio’nun resimlerindeki üç önemli nosyon olan talepkar bakış, merkezi odak nosyonu ve ilişkisellik bağlamında yeniden ele alacaktır.

A New Mode of Relationality: Bersani and Dutoit's Caravaggio

This paper shall focus on Leo Bersani and Ulysse Dutoit’s intriguing claim that famous Italian artist Michalengelo Merisi da Caravaggio’s paintings address a new mode of relationality. In their co-authored book Caravaggio’s Secrets, Bersani and Dutoit analyze the works of this radical artist from a non-anthropomorphized perspective in opposition to a psychoanalytical approach. In their meticulous study, Caravaggio became a master who depicts the subjects and their nexus to the surroundings in such a unique way that his paintings foresee new modes of sociality along with an unfamiliar relationality they present. The present study revisits Bersani and Dutoit’s contentions by focusing on the three significant aspects of Caravaggio’s paintings namely the soliciting gaze, the notion of center and the relationality in the paintings.

Keywords:

Caravaggio, Relationality, Soliciting Gaze Notion of Centrality,

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Image 1. Caravaggio, “The Fortune Teller”, 1593–94, oil on canvas, Pinacoteca Capitolina https://commons.wikimedia.org/wiki/Category:Google_Art_Project_works_by_Caravaggio#/m edia/File:Caravaggio_(Michelangelo_Merisi)_-_Good_Luck_-_Google_Art_Project.jpg. Date accesst: 05.05.2019.
Image 2. Caravaggio, “The Calling of St. Matthew”, 1599-1600, oil on canvas, Contarelli Chapel, Rome.https://en.wikipedia.org/wiki/The_Calling_of_St_Matthew_(Caravaggio)#/media/File:Th e_Calling_of_Saint_Matthew-Caravaggo_(1599-1600).jpg. Date Accesst: 27.05.2018.
Image 3. Caravaggio, “Supper at Emmaus”, 1601, oil and tempera on canvas, National Gallery, London.https://en.wikipedia.org/wiki/Supper_at_Emmaus_(Caravaggio,_London)#/media/File: 1602-3_Caravaggio,Supper_at_Emmaus_National_Gallery,_London.jpg. Date accesst: 27.05.2018.
Image 4. Caravaggio, “Judith Beheading Holofernes, 1598-9, oil on canvas, Palazzo Barberini, Rome.https://www.khanacademy.org/humanities/monarchy-enlightenment/baroqueart1/baroque-italy/a/gentileschi-judith-slaying-holofernes. Date accesst: 03.01.2019.
Image 5. Caravaggio, “Bacchino Malato (Sick Bacchus)”, 1593, oil on canvas, Gallery Borghese, Rome.https://it.wikipedia.org/wiki/Bacchino_malato#/media/File:Bacchino_malato_(Caravaggi o).jpg. Date accesst: 27.05.2018.