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What we see then in a historical contextualisation is that when bodies fail to meet criterion by both active partner and society either at large - or within certain spheres; their bodies are positioned as lesser or to some meet the performative criterion of the other sex (I.e. woman).

It is then in this case we come to understand that models and representation of this kind are not intrinsically gay, for to position them as such is both historically inaccurate and inarticulate.

Even still, we do have to address that in a time-frame of sorts we know that the majority of his paintings of youths were manufactured whilst he too was a youth, or at least young. And ultimately this will come not to set an intrinsic narrative but a set of paradigms in which we are able to gauge

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Caravaggio: The Pleasure/Pain principle  

Caravaggio: The Pleasure/Pain principle  

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