Discusses and analyzes two of Michelangelo Merisi da Caravaggio's masterpieces, the "Crucifixion of St. Peter" and the "Conversion of Paul", which are located in the Cerasi Chapel in Rome.
1,350 words (approx. 5.4 pages), 7 sources, 2006, $ 53.95
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."
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
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.
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."
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)."
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."
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. "
Abstract The paper discusses how the Baroque style dominated art and architecture throughout Europe in the 1600s. The paper defines this style as having a dramatic use of light. The paper compares the works of Caravaggio and Rubens and concludes that while both painters have succeeded--in the Baroque style--at depicting a portion of the passion of Christ, they have differences. Caravaggio is more firmly planted in the style of his time, evoking strong emotion with relatively simple, if dramatic, depictions whilst Rubens decorates the scene more than transporting the viewer into the emotion of the event depicted.
Contents:
Introduction
Caravaggio and Rubens
Conclusion
From the Paper "The Baroque style dominated art and architecture throughout Europe in the 1600s, lasting in some places until about 1750 (Encarta, database online). The origin of the word is not certain. Some believe it was derived from the Portuguese word barocco or the Spanish word barueco, a word that referred to an irregularly shaped pearl (Encarta database online.) It should be remembered that pearls, baroque or otherwise, were only brought to Europe during the age of exploration, which slightly preceded what came to be called the baroque period of art. Baroque--or irregularly shaped--pearls would have been looked upon as doubly exotic and very dramatic, so it is not difficult to imagine the term being applied to art that was increasingly dramatic, even if the subject matter was not; the baroque painters had an affinity for Biblical subjects."
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."
Abstract This paper studies the conveying of meaning in art through the use of different techniques. It does this by comparing and contrasting two works on the same subject, as envisioned by two different artists. It looks at the slightly different styles and techniques of "The Fortune Teller" by the Italian painter Caravaggio and ?The Fortune Teller" by the French artist Georges De La Tour.
From the Paper "To understand the role of technique, as opposed to subject or narrative, in conveying visual meaning, it is so instructive for a student of painting to compare and contrast the works on the same subject, as envisioned by two different artists. Consider how the slightly different styles and techniques of "The Fortune Teller" by the Italian painter Caravaggio and "The Fortune Teller by the French artist Georges De La Tour both tell the same narrative within their painted structure. In both works, a young man of evident wealth is depicted visiting a fortune-teller. While having his palm read, all of the gold and money upon his person is stolen. However, subtle shifts in the artists" techniques and images cause slightly different shifts in the viewer's sympathy for the young man's plight and the viewer's feelings towards the thieving fortuneteller. This is true even though both paintings date from relatively similar periods of time in art history."
Abstract The paper explains that by examining the Baroque work of Carracci, Caravaggio and the contrasting work of Rococo artist, Antoine Watteau, one can see how they are compared and contrasted in art history. The paper discusses how the earlier Baroque style offered a painting technique which relied on dynamic chiaroscuro and color values, along with the greater emphasis on gigantism in the heroic poses offered by Caravaggio and Carracci. The paper notes that while the Baroque period lasted for nearly one hundred years, the changing climate of political and class based construct in painting veered into the pomp and circumstance of the French elite in the 18th century.
From the Paper "This art study will compare and contrast the stylistics of Baroque and Rococo art. Although these two styles appear to be similar in their artistic painting techniques, the ideological content value of Baroque and Rococo art is very different. In many ways, Baroque will be examined for the humanistic and classical values in various paintings of this period. However, as art veered away from this strict Grecian content style, the highly dramatic and theatrically elitist "art for arts sake" arose within Rococo paintings. In essence, the initial classicism of Baroque art that sought deeper meaning in classical themes changed into a far more dramatic based on pomp and extravagance. The Baroque period is generally known to have begun in 1600 with major painters such as Caravaggio and Carracci creating classical styled paintings."
From the Paper "As a nurse, Hana treats an English patient who suffers from extensive burns on his body. Strangely, she directs all her spirit into nursing him. She performs various physical acts from bathing him to feeding him a plum from her mouth: "She pours calamine in stripes across his chest where he is less burned, where she can touch him....She unskins the plum with her teeth, withdraws the stone and passes the flesh of the fruit into his mouth" (4). Ondaatje's language is so intrinsically detailed that the reader feels the intimacy grow between Hana and the patient."
Abstract This paper is an in-depth look at the history of art in the Italian and Northern Renaissances, and Italian Baroque. The author discusses how art reflected the social and cultural changes, and compares the styles of the three periods.
From the Paper "A glance back into the history of art genre and style is much like a glance back into a globalized mirror of cultural and societal change. Art is a traditional form of expression common to all civilizations and cultures, a form of expression that has conventionally been shaped by a shifting society and dictated by the diversities that shift that society. A look at the history of the evolution of art genre and style, therefore, offers also a reflective look at the centuries of change and decades of dissemination that shaped not only the evolution of art, but also the evolution of human civilization at large. Three artistic periods in particular present a clear and comprehensive reflection of the societies and eras that shaped them. These periods are known as the Italian Renaissance, the Northern Renaissance and the era of the Italian Baroque."
The following paper attempts to classify Terbrugghen's art in terms of certain stylistic attributes which stand out to classify his art in three categories: Early Period, Middle Period and Late Period.
Abstract The following paper attempts to date the works of Terbrugghen according to periods in his life. The paintings that are analyzed in the early period are Crowning with Thorns in Copenhagen (1620), Execution of St. John the Baptist in Edinburgh, and Christ at Emmaus in Potsdam. The works that are classified in his middle period are: Lazarus and the Rich Man in Utrecht (1625), Gamblers in New York (1623), and Boy Lighting his Pipe (1623), and finally the works analyzed in his late period are: Jacob, Laban, and Leah in Cologne (1628), The Concert in Leningrad (1626) and Backgammon Players in Sweden (1627).
From the Paper "The chief problem one faces in confronting Terbrugghen's art is that of dating his work. The majority of his works are undated and dating them is difficult because Terbrugghen never had a set pattern. You cannot set up a chronology because he was an artist, not a thinker, and, therefore, not one to proceed step by step in his works. Terbrugghen was never outstanding as an inventor of motifs but liked to pick up ideas from others and elaborate on them. Throughout his career he used ideas from other artists. He did not use any one artist as an influence in just one period of his work, but tended to use ideas of the same artist throughout his life. An example of this is the influence of Caravaggio that can be seen in some of his works throughout his lifetime as an artist."
Tags: 17th, caravaggio, century, dutch, history, motif, inventor, musician, religious
Compares History Portrait Series (1989-1990) of American photographer with works by Caravaggio & Gentileschi of 16th Century. Anaylzes themes of style, content, artist as model, meaning, gender and human suffering.
3,150 words (approx. 12.6 pages), 6 sources, 1999, $ 111.95
From the Paper " This study will examine the relationship between the photography of Cindy Sherman, specifically a number of the works from her "History Portraits Series" of 1989-1990, and selected works of the Italian Baroque painters Michelangelo Merisi de Caravaggio and Artemisia Gentileschi of the late 16th and early 17th centuries. If one considers these three artists in terms of the evolution of a single vision, moving from Caravaggio through Gentileschi to Sherman, one can more easily see the relationships between and among their works. The thrust of this study will focus on such an evolution, from the traditional "masculine perception" (Garrard 4) of Caravaggio to the "special mixture of masculine and feminine elements" (Garrard 7) of Gentileschi to the radically humanist and subversive work of Sherman. Although Sherman, the focus of this study, expropriates the style and.."
