![]() His Maddalena for example, could be identifiable with the starting point of an iconographic renewal of the theme of Christian ecstasy. ![]() On the contrary, he depicted his figures in a rather raw manner anf the characters appeared as rough, coarse and filthy thus sacrilegious. However, his spirituality is still an unresolved mystery. For his contemporaries he was merely and purely blasphemous.Īt the time what prodded the public to define Caravaggio’s art as blasphemous had to do with the images represented by the artist his depictions of the various Madonnas and holy saints were in fact not in line with the stereotypical collective imagery of the seventieth century (namely Baroque and Mannerism). The artist has for a long tome engaged art historians in the attempt of understanding which were his spiritual inclinations. It is known that Caravaggio wasn’t a saint: he was a rebel, outrageous and aggressive but at the same time he was a man of great religious beliefs. If we go back to the seventieth century and examine the figure of Michelangelo Merisi – better known as " Caravaggio", we may find clear evidence that the so called blasphemous art was already an issue at that time. To a certain extent, Plate’s book is a quest into the use of power, whether the power of images upon the viewer or the power of the artist him/herself and the images that he or she uses to chock, to challenge or simply to affirm a concept. In many cases when a work of art is labelled as blasphemous there are political implications behind this. Plate’s argument are based on the assumption that the context is essential for the evaluation of a work of art, especially when it contains explicit references to religion. This discussion shall focus on Brent Plate’s publication “ Blasphemy: art that offends” in the attempt of extrapolating the meaning and significance of “blasphemous art”. He continues to produce art, teach, and speak on topics of art, art history, and aesthetics around the country.Many works of art have been described as blasphemous, not only in recent years but pretty much throughout the whole history of history of art. From 1999-2001 Clutter was art critic for the Boise Weekly newspaper in Boise, Idaho. He also served as the Director of the international art non-profit CIVA from 2003-2008. Tyrus has taught art and art history at colleges and universities since 1995. Clutter’s work can be found in several hundred private collections as well as in the Print Collection of the New York Public Library, and the collections of the Museum of Biblical Art, the Spencer Museum of Art at the University of Kansas, Spring Arbor University, Calvin College and Union University. His work has been exhibited in numerous group and solo exhibitions throughout North America and in Europe. ![]() He holds a BA in Art from Spring Arbor University and an MFA in Painting from Bowling Green State University. ![]() Tyrus Clutter is a painter and printmaker who was born and grew up in Michigan. ![]()
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