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European Classical Enlightenment rhetoric posed the statement of male bodily superiority though mass reproduction whether autographic or semi-mechanicalised. This epithet of the body and implication of the representation of the bodily could be surmised in the quotation that man is the measure of all things.

This is not to retroject the misogynistic, and potentially femme-negating stance positioned as both visual and literary narrative as featured within Derek Jarman’s Caravaggio. But that the contingency of sexual desire in this instance requires both nuance and historical appropriate referencing. I’ve referred previously to the Vasetto as an archetype, and perhaps this is the way in which we must engender the bodily presence of Caravaggio’s young self and muses. That they are not explicitly male, yet they are not female.

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Caravaggio: The Pleasure/Pain principle  

Caravaggio: The Pleasure/Pain principle  

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