By Laurent Bolard

Michelangelo Merisi, dit Caravage, est l’une des figures majeures de l’art occidental. L’une des plus singulières aussi. D’abord par sa peinture qui fascine à travers sa strategy, son utilisation dramatique de l’éclairage et de los angeles couleur, et los angeles strength d’émotion qui s’en dégage. Ensuite par sa vie tumultueuse et sa personnalité hors du commun, dans cette période si tourmentée de l. a. Réforme catholique et de los angeles naissance de l’art baroque.Né à Milan dans une famille originaire de Caravaggio, liée à l. a. prestigieuse dynastie des Sforza-Colonna, Caravage y travailla quatre ans au carrier de Simone Peterzano puis partit pour Rome où il fut engagé dans l’atelier du Cavalier d’Arpin. Grâce au cardinal del Monte, qui lui acheta ses premières toiles et l’hébergea dans son palais, il devint l’un des peintres les plus convoités de los angeles Ville Eternelle.Mais cet homme fut aussi célèbre pour ses démêlés avec los angeles justice. Son goût pour les nuits de Rome l’amena à en fréquenter les bas-fonds, avec l. a. violence que cela impliquait. Plusieurs fois emprisonné, il dut s’exiler à Naples en 1606 après avoir commis un meurtre.Laurent Bolard nous raconte cette vie pittoresque et tourmentée, éminemment romanesque. Il s’attache à suivre pas à pas le parcours chaotique de l’artiste dans ses différents lieux de séjour et d’exil Milan, Rome, Naples, Malte, los angeles Sicile et suggest une passionnante lecture des peintures à travers les hypothèses et les analyses les plus récentes.Laurent Bolard est docteur en Histoire de l’Art moderne de l’Université de Paris-IV Sorbonne, spécialisé dans los angeles peinture italienne de l. a. Renaissance.

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Finally, Shaw remarked that, “of course, the Kaiser is a Junker, though less true-blue than the Crown Prince . . ” (1914/1931, p. 22). Here we confront the difference between overt and covert irony, as well as the importance of knowing the situation in order to appreciate verbal irony. At an overt level, this irony was the same as the overall situation explicitly described—the pot calling the kettle black. The Crown Prince was a Junker like the Kaiser. With more knowledge of the situation, however, the irony holds added punch.

In particular, he had learned to use his theatrical mind to think about war. From Common Sense to Heartbreak When WWI began, Shaw was on vacation in Torquay, a seaside resort on the shore of the English Channel. He immediately cloistered himself at his hotel and began writing about the war. Out of that work came his soon-to-be-infamous 70-page essay, Common Sense About the War. The essay was published as an extensive supplement to the New Statesman on November 13, 1914. In it, Shaw took the position that the war was a senseless fight between the German and English aristocrats and militarists in which the ultimate losers would be the general populace of both countries.

Of course, history is seldom neat. During the war, Shaw himself wrote that “the war is full of ironies” (letter to Dorothy Mackenzie, March 18, 1918, in Laurence, 1985, p. 546). In other words, in examining Shaw’s ironic IRONY AND CONFLICT 27 thinking about WWI, we are looking at a period in which the concept of irony was on the brink of the rapid expansion that it would undergo during the rest of the century. If Fussell is right about the link of WWI to modern ironic understanding, the war may also have contributed to the expansion of the concept.

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