In The Fortune Teller (Caravaggio), how is the Style discussed?
Caravaggio's biographer Giovanni Pietro Bellori relates that the artist picked the Romani girl out from passers-by on the street in order to demonstrate that he had no need to copy the works of the masters from antiquity:"When he was shown the most famous statues of Phidias and Glykon in order that he might use them as models, his only answer was to point towards a crowd of people saying that nature had given him an abundance of masters."This passage is often used to demonstrate that the classically trained Mannerist artists of Caravaggio's day disapproved of Caravaggio's insistence on painting from life instead of from copies and drawings made from older masterpieces. However, Bellori ends by saying, "and in these two half-figures [Caravaggio] translated reality so purely that it came to confirm what he said." The story is probably apocryphal – Bellori was writing more than half a century after Caravaggio's death, and it doesn't appear in Mancini's or in Giovanni Baglione, the two contemporary biographers who had known him –  but it does indicate the essence of Caravaggio's revolutionary impact on his contemporaries – beginning with The Fortune Teller – which was to replace the Renaissance theory of art as a didactic fiction with art as the representation of real life.
Bellori Romani Glykon Caravaggio Mannerist Giovanni Baglione Giovanni Pietro Bellori Phidias