Page 17

evolution of an angel which was historically viewed as something more sphynxian in nature evolves

anthropomorphically to become somewhat human (Hugo Van Der goes :Vienna Diptych) or become intrinsically positioned as objects which oscillate and perform between the erotic and sublime (Jan Van Eyck: Ghent altarpiece) The narrative was ultimately set up by canonical promulgation; if union between “monsters� in this case effeminate beings, male and female alike

ultimately produce a threat, or possibility of

turning over - or effectively levying layers of social dominance their offspring like them are ultimately monsters to be annihilated: Gorgons, Monsters, Giants.

It is this that is articulated by the following paintings; Medusa, David & Goliath, Amor Victorious & ‌ We acknowledge like some of his predecessors and later followers Caravaggio adopted the classical aesthetic and

Profile for richardmaguireart

Caravaggio: The Pleasure/Pain principle  

Caravaggio: The Pleasure/Pain principle