Abstract
This paper introduces two important works by Caravaggio that demonstrate his mastery of light, more than color, towards effects that were not expected of Counter-Reformation art. The paper examines the prevalent artistic approaches used during that era and explains how Caravaggio departed from those approaches by using shadows, very dark colors, and direct human expressions that arrest the viewer.

From the Paper
"The Council of Trent had established the Counter-Reformation's approach to art as this was to convey Christian themes directly to its viewers. However, the fine arts were to adhere to thematic pieces on repentance and redemption, ensuring that the mysteries of Christianity should be visible, as in the wounds of the Crucifixion. Michelangelo da Caravaggio went forwards in a realistic depiction of life, enabled by the protection of well-placed intellectuals and others to recognize his use of colour and light towards lifelike figures, in contrast with what the Counter-Reformation encouraged in Mannerism."

Tags:caravaggio, st.peter, paul

Abstract
This paper examines the influences of Italian Renaissance artist Caravaggio's personality and life experiences on his work. According to the paper, the events of the artist's life are reflected in his art. A brief biography in the paper gives a basic outline of Caravaggio's life. The paper goes on to describe Rome as an artistic hub at this time and then describes the patrons that helped advance Caravaggio's career. The artist's importance as a pioneer in the Baroque style is also highlighted, citing his various works to illustrate this point. The paper concludes that Caravaggio was an innovator in his field, displaying fierce realism, sympathy and insight in his works and virtually reinventing the way artists used light and dark in their paintings.

From the Paper
"The artist was born on September 29, 1572, which also happens to be celebrated in Italy as the feast day of the Archangel Saint Michael (Langdon 12), who represents victory over evil--a figurative battle many might say Caravaggio would not win. His parents died while he was still young, as did his grandparents. The Colonna, the illustrious Italian family for which his father had worked many years, watched over Caravaggio as he had become endeared to them, and would continue to maintain a presence in his life for years to come (6). He became an apprentice for Simone Peterzano of Milan at age 13, working and studying there for about five years. Under this apprenticeship, Caravaggio was trained according to Renaissance techniques and in the devotional and simplistic style of his master, learning how to prepare colors, to draw and paint in fresco and studied anatomy and perspective."

Tags:art, Baroque, Italy, Renaissance, Catholic church, patronage

Abstract
This art history study compares and contrasts the realism that is exhibited within the paintings of Caravaggio and Annibale Carracci. By analyzing the Farnese gallery of Carracci, this paper sees the sense of realism that is anatomically in compliance with Caravaggio's painting style. Within the scope of realism, however, Caravaggio is more reliant on shadows and color schematics than Carracci in his compositional technique. This paper further discusses how in this manner, both Carracci and Caravaggio express similarities and differences in their approach to painting technique during the Italian Renaissance.

Tags:art, history, renaissance

Abstract
This paper reviews and discusses the works of Michelangelo da Caravaggio and Nicolas Poussin. According to the paper, Caravaggio and Poussin were not contemporaries but have been linked in art history because of the criticisms Poussin made of Caravaggio and because of the differences in approach seen in their aesthetic ideas and the works they produced following those ideas.

From the Paper
"These latter two works are very different renditions of their subject, though there are similarities in the symbols used. Both figures have leaves twining around their heads. The da Cortona work shows a much younger Bacchus, a child, with bunches of grapes in hand. The Caravaggio presents an adult Bacchus drunk from the wine in the goblet he holds in his left hand, and grapes and other fruit are visible in a bowl in the foreground. The Bacchus of Caravaggio is a dissipated adult, and Caravaggio renders this scene with considerable realism. The expression on the face shows how drunk this Bacchus is and how less than ideal this makes him."

Tags:convex, form, medusa, gruesome, canvas, Baroque, style, Bacchus, Ariadne

Abstract
This paper discusses how Michelangelo Merisi da Caravaggio was known for portraying insolent boys and rough looking peasants within the masquerade of Roman gods and Christian saints. The paper describes and analyzes some of his more famous works such as "The Musicians", "Sick Bacchus" and "Boy Peeling a Fruit" and concludes that there was a feeling and sense of imminent terror in many of Caravaggio's works.

From the Paper
"Boy Peeling a Fruit is oftentimes associated with genre paintings however, it is different from a genre painting in the sense that the boy in the painting seems to be more refined and in control. A characteristic of this painting, as well, would be the absence of a rustic or disheveled individual (something that is characteristic of Caravaggio's paintings). Again, these are Caravaggio's secular paintings and the fact that the boy is peeling a less desirable looking piece of fruit while they are more spectacular looking pieces of fruit laid out in front of him, it suggests that there might be a moralizing theme here, though not necessarily religious: the resisting of seductive temptations. "

Tags:Musicians, Sick, Bacchus

Abstract
At the beginning of the 17th century, the artist, Michelangelo Merisi , who was called Caravaggio, began to paint in a manner that was at once new and exciting, as well as echoing the best of the Renaissance masters who had come before. This paper examines the era in which Caravaggio painted and in which he was commissioned to complete three paintings in the Contarelli chapel, the Cerasi chapel, and the Cherubini chapel. It focuses on his style and uniqueness, which made him one of the greatest artists of his time.

From the Paper
"Caravaggio's earlier works were more secular in content and, along with the later religious compositions, were known for realism, simplicity, and piety. His turbulent private life lent a dramatic effect to his work that can be seen in the extensive use of shadow, particularly those works of the later period when he was running from and in between periods of imprisonment. "Vain and prone to violence, Caravaggio could not handle either success or rejection. The more eminence he achieved as an artist, the more tumultuous his life became" (Butterfield 32). He eventually fled Rome after having stabbed and killed a man and having a death warrant issued (Butterfield 33)."

Tags:Baroque, Biblical, Death, of, a, Virgin

Abstract
This paper examines religious works by Michelangelo Merisi da Caravaggio: "The Deposition of Christ in the Sepulcher", "Madonna di Loreto", "The Calling of Saint Matthew", "The Martyrdom of Saint Mathew" and "The Crucifixion of Saint Peter". All of these works are oils on canvas and present themes from the New Testament. The author describes each painting, its history, biblical content and the techniques used, which are characteristic of Caravaggio.

Table of Contents:
"The Deposition of Christ in the Sepulcher"
"Madonna di Loreto"
"The Calling of Saint Matthew"
"The Martyrdom of Saint Mathew"
"The Crucifixion of Saint Peter"

From the Paper
"The original commissioner had ordered a more complicated assemble with more display of architecture and a larger number of spectators assisting the scene in terrified impotence. However, Caravaggio managed, after a couple of abandoned attempts, to compact the scene to the most essential elements without losing the dramatic expression its commissioner had requested.
"Affected chiaroscuro gives expression to the moment and brings the scene closer to the viewer, involving them as part of the action."

Tags:chiaroscuro, magdalene, mannerist, three-dimensional, staging

Abstract
This paper is a commentary on the Derek Jarman's film, "Caravaggio", emphasizing the model-artist relationship in the movie and the artistic expression with which Jarman displays Michele Caravaggio himself.

From the paper:

"Jarman's Caravaggio is a rare commentary on the life of Michele Caravaggio, one ravished by misfortune and sorrow but nonetheless embraced and exalted today as a crucial moment in the defining of art. This film not only promotes the efforts and exploits of Caravaggio, but also delves into the realm of the artist as a human, not merely the means through which art is accomplished. Jarman takes special effort to integrate the relation of Caravaggio to his peers and friends while smoothly throwing artistic practice into the mix with a natural fluidity that almost necessitates the replacement of the word "practice" with 'being'."

Tags:caravaggio, jarman, artist, art, artistic, model

From the Paper
"This paper will discuss a painting by Caravaggio (1571-1610) entitled A Concert, which dates from approximately 1595. This was an early work in Caravaggio's career. It was painted soon after his arrival in Rome from his rural birthplace near Milan. The painting depicts three young musicians preparing to play a concert. one boy is tuning his lute while another studies a musical score. The third boy holds an unusual looking horn. A figure representing Cupid sits behind them, holding a bunch of grapes.


The work was commissioned by the Cardinal del Monte, who was Caravaggio's first patron and helped the young artist to advance his career. The painting is representative of Caravaggio's early genre pieces. At this point in the artist's career, he had not yet started to paint the unique religious scenes that he is best..."

Abstract
This paper discusses the Baroque style of art that came about following the Renaissance period. The paper examines the artistic styles that made this period so unique. The paper introduces one of the most talented and gifted painters in Italy during this time, Michelangelo de Meris, also known as Caravaggio. The paper describes one of his most famous paintings, "The Madonna of Loreto" that reveals the true nature of the Baroque period. The paper also discusses the brilliant Flemish master Peter Paul Rubens who shared with his counterparts in Italy the desire to develop and spread the Baroque style.
Outline
Introduction
Caravaggio
The Madonna of Loreto
Peter Paul Rubens
The Journey of Marie de Medici
Helen Fourment and Her Children

From the Paper
"The artistic period known as the Renaissance continued without any sharp stylistic changes well into the 17th and 18th centuries; however, the art of this later period is often called Baroque, although there is no single Baroque style or set of stylistic ideals. Yet within the last one hundred years or so, Baroque has taken on the overall designation for the art of the period from circa 1600 to 1750. More recently, scholars have come to understand that Baroque styles were very different from those linked to the Renaissance. For example, during the Renaissance, art tended to be rather static, but during the Baroque, art became very dynamic and encompassed passion, opulence, a taste for the theatrical and introduced the virtuoso, being an artist that stood out from his contemporaries as a truly gifted genius."

Tags:michelangelo, meris, madonna, loreto, marie, medici, helen, fourment