Caravaggio'nun Resimlerinde Camera Obscura Kullanımına İlişkin İzler

This study examines the evidence of the use of optical devices such as the camera obscura in the painting techniques of Michelangelo Merisi da Caravaggio, one of the leading figures of the Baroque period, from an interdisciplinary perspective.The precision of perspective and the extraordinary realism in the use of chiaroscuro (light-shadow technique) in Caravaggio's works have laid the foundation for discussions among art historians about the possibility that the artist may have used optical methods.In this regard, the research analyzes the compositional arrangement, use of light-shadow, and figure details in selected works of the artist within the framework of the possibilities offered by 16th and 17th-century optical technologies.The theoretical basis of the study is the "Hockney-Falco Thesis" proposed by David Hockney and Charles M. Falco, which claims that early modern period artists used optical tools.According to this thesis, it is suggested that Caravaggio may have benefited from the camera obscura and various mirror techniques in his management of perspective, proportions, and light.However, this view has been subject to criticism in terms of art historical methodology and technical feasibility.This research subjects the aforementioned claims to a systematic analysis based on Caravaggio's works and questions the existence of technical traces indicating the use of optical devices

Art · Art history · Aesthetic Perception and Analysis · Renaissance and Early Modern Studies · Visual Culture and Art Theory

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