Such a noble form of expression cannot and must not be a product only for the few.
Therefore, artificial marginalization cannot be added to the misfortune of suffering from a physical impairment.
The exhibition of the Flagellation of Christ at the Reggia di Monza, we are certain, will be a milestone in the spreading of the art and painting in particular. All thanks to 3D printing and cutting-edge technologies capable of freeing centuries of creativity from human limits.
It is remarkable how the works of Caravaggio are so well-suited to being made in 3D. It’s almost as if Michelangelo Merisi, with his artistic career in full swing, had foreseen that 400 years later his paintings would have proven perfect to leave two-dimensional space and even be touched by a blind man’s hands.
Let’s start from the light and shadow play. Caravaggio used to place a lantern near the model he wanted to depict, plunged into darkness (indeed, the creation of ‘raking light’): this way it would have been easier to portray on the canvas the desired effect. That is to give a certain degree of three-dimensionality to the subjects represented, emphasized by Caravaggio’s distinctive lighting that confers a sense of volume to the bodies, which seem to ‘come out’ of the scene.
So, in this respect, this 3D version of Caravaggio’s Flagellation of Christ is extremely coherent. The column to which Christ is tied can hardly be seen in the painting and therefore it will only be barely perceivable to the touch in its 3D version.
It is not our intention to compare ourselves to Caravaggio. It would only be presumptuous, to say the least.
The 2D image was then used as the reference point to shape to the smallest detail the depth areas created at a later stage in the 3D version of the Flagellation of Christ.
Lastly, the final procedure before getting the finished piece: post-production.
The first 3D printed painting for blind people: Flagellation of Christ (Caravaggio) ultima modifica: 2016-03-22T10:24:01+00:00 da