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DAILY PIC: My third and last Daily Pic taken from the Accademia Carrara show now wrapping up at the Metropolitan Museum in New York: a portrait of the well-heeled Giovanni Benedetto Caravaggi, painted somewhere between 1517 and 1520 by the Venetian Giovanni Cariani. It’s easy to see the staring, frozen quality of many portraits of this moment as a failing – to see it as an inability to give a snapshot sense of a figure captured at a single instant in time. (Later portraits do precisely that.) But what if these portraits were meant to evoke the drawn-out moment of posing they imply, and the long, still encounter between the sitter and artist. One of their subjects could be the time and patience it takes to capture a perfect likeness, and to be the subject of one.
For a full visual survey of past Daily Pics visit blakegopnik.com/archive. The Daily Pic, along with more global art news, can also be found on the Art Beast page at thedailybeast.com.

Aug 31, 2012

DAILY PIC: My third and last Daily Pic taken from the Accademia Carrara show now wrapping up at the Metropolitan Museum in New York: a portrait of the well-heeled Giovanni Benedetto Caravaggi, painted somewhere between 1517 and 1520 by the Venetian Giovanni Cariani. It’s easy to see the staring, frozen quality of many portraits of this moment as a failing – to see it as an inability to give a snapshot sense of a figure captured at a single instant in time. (Later portraits do precisely that.) But what if these portraits were meant to evoke the drawn-out moment of posing they imply, and the long, still encounter between the sitter and artist. One of their subjects could be the time and patience it takes to capture a perfect likeness, and to be the subject of one.

For a full visual survey of past Daily Pics visit blakegopnik.com/archive. The Daily Pic, along with more global art news, can also be found on the Art Beast page at thedailybeast.com.

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