Current attempts by historians of science to revise the narrative of the Scientific Revolution by using the concept of the Baroque have important implications for art history. Correspondences between baroque art and baroque science gain new complexity when the rational, epistemologically optimistic image of the New Science is put in doubt. Rather than a method of objective observation, early seventeenth-century science and art share an acceptance of the constructed nature of reality, of human epistemological limitations and of the role of passions in the observation of the world. While Caravaggio has revolutionised art precisely through his interest in questions of knowledge and sensorial perception and by his subversive transformation of Renaissance epistemological values and ideals, this article concentrates on the work of Jusepe de Ribera, who made the senses and their shortcomings a major theme of his pictorial research. Ribera's epistemology is examined in the context of contemporary Neapolitan philosophy and science. Through the confrontation of some of the Spagnoletto's paintings with the work of figures such as Giovanni Battista della Porta, Federico Cesi and particularly Colantonio Stigliola, it becomes clear that early modern Neapolitan faith in rational knowledge was more ambiguous than is sometimes assumed.

中文翻译：

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巴洛克科学，实验艺术？Jusepe de Ribera 和其他那不勒斯怀疑论者

目前科学史学家试图通过使用巴洛克的概念来修改科学革命的叙述，这对艺术史具有重要意义。当新科学的理性、认识论乐观形象受到质疑时，巴洛克艺术与巴洛克科学之间的对应关系变得更加复杂。十七世纪早期的科学和艺术不是客观观察的方法，而是共同接受现实的建构本质、人类认识论的局限性以及激情在观察世界中的作用。卡拉瓦乔正是通过他对知识和感官知觉问题的兴趣以及他对文艺复兴时期认识论价值观和理想的颠覆性转变，彻底改变了艺术，本文集中于 Jusepe de Ribera 的作品，他将感官及其缺点作为他绘画研究的主要主题。里贝拉的认识论是在当代那不勒斯哲学和科学的背景下检验的。通过将 Spagnoletto 的一些画作与 Giovanni Battista della Porta、Federico Cesi 和特别是 Colantonio Stigliola 等人物的作品进行对比，很明显，早期现代那不勒斯人对理性知识的信仰比有时假设的更加模棱两可。