AGAIN AND AGAIN during this pandemic, unable to actually see art in person, I have time-traveled within myself for sustenance—with the help of the internet, of course. Viewing art online flattens the contextual experience: It is just as easy, or just as difficult, to call up a Renaissance masterpiece as a contemporary painting, and each appears on my computer screen in precisely the same way, without any of the trappings of art-historical importance (gilded frames, museum lighting, grand settings) or contemporary novelty (the vacuum-quiet space of a blue-chip gallery, the buzz of hype).
In these sessions of inner priestcraft, I invariably arrive in the past, indeed always the distant past, often the Renaissance. Lately, I’ve been traveling to Rome in 1600, when, at the age of 28, Michelangelo Caravaggio triggered…