| Papers [1-15] of 16 :: [Page 1 of 2] | | Go to page : 1 2 —> | Search results on "ART CARAVAGGIO": |
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Art History: Carracci and Caravaggio, 2006.
A comparison and contrasting of the art of Annibale Carracci and Caravaggio.
1,575 words (approx. 6.3 pages), 2 sources, $ 62.95
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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.
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Caravaggio's Departure from Counter-Reformation Art, 2006.
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, $ 53.95
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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."
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Baroque Art, 2004.
An analysis of Baroque art, including a comparison between Peter Paul Rubens and Caravaggio.
1,131 words (approx. 4.5 pages), 4 sources, MLA, $ 39.95
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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."
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Renaissance Art, 2004.
This paper discusses Renaissance art, specifically "The Judgment of Paris" by Lucas Cranach the Elder and "The Death of the Virgin" by Caravaggio.
960 words (approx. 3.8 pages), 4 sources, MLA, $ 34.95
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Abstract
This paper explains that both paintings represent a distinct style of Renaissance art, but each is from a different period and illustrates the differences that can occur during the same artistic period and the commonalities that hold the period together. The author points out that Cranach's work added much to the German Renaissance. He was the first painter to create full-sized portraits, rather than just portraying the head and shoulders, and the first to create erotic nudes, which were quite popular with private collectors. The paper relates that the many commonalities in these paintings, even though they represent different times in Renaissance artwork, are the use of great detail and the effects of lighting.
From the Paper
"The first painting, "The Judgment of Paris," is tempera and oil on wood. It measures 40-1/2 by 28 inches, and the artist, Lucas Cranach the Elder, painted it sometime around 1528. Cranach was a German painter who lived from 1472 to 1553, and painted in the Northern or German Renaissance style. This painting is executed in the natural style, blending the figures in the foreground with the surrounding landscape. The detailed landscape behind the figures is as well executed as the figures, with detail that draws the eye from the figures to the background and back again. The background even contains a medieval palace on the edge of a soaring cliff, along with a medieval village off in the far valley, with a sailing ship floating peacefully at the village's waterfront."
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"Michele Caravaggio", 2002.
An analysis and commentary of the film.
2,340 words (approx. 9.4 pages), 1 source, $ 71.95
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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'."
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Baroque Art, 2006.
This paper compares two painters who used the Baroque style of art.
1,086 words (approx. 4.3 pages), 4 sources, APA, $ 37.95
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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."
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Rococo and Baroque Art, 2007.
This paper discusses the evolution of eighteenth century visual arts.
2,024 words (approx. 8.1 pages), 8 sources, APA, $ 64.95
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Abstract
The paper analyzes the evolution of baroque art into the Rococo style of the 18th century. The paper examines the Baroque works of Annabale Carracci and Caravaggio and contrasts them to the work of Rococo artist Antoine Watteau. The paper shows how art evolved into a style that reflected government and new political ideologies in the Age of Diversity.
From the Paper
"The Rococo period as logically been constructed through the humanism and classical values instilled within the Baroque period. The rococo period in Europe reflects the ideological aims of visual art, which became manifest during the time of Voltaire, Rousseau and the American Revolution. Although the American visual arts did not reflect the extravagance of the monarchical pomp of the French courts, it is clear that Rousseau and Voltaire were struggling for a new type of liberation in within what might be called "the Age of Diversity". To truly understand the innovations in style for the Rococo period, one must evaluate the reasons why this form of visual design became realized in the 18th century. Certainly, the Baroque period was a continuation of the logic and reasoning that was instilled in the Age of Enlightenment--via classical design and visual art representations. In this manner, the Baroque period must be compared and contrasted with Rococo art to realize the impact of the highly stylized visual arts that emerged within the 18th century."
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Baroque and Rococo Art, 2006.
This paper compares and contrasts the stylistic and ideological content in Baroque and Rococo art.
1,575 words (approx. 6.3 pages), 4 sources, $ 62.95
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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."
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Caravaggio and Poussin, 2007.
A discussion regarding Michelangelo da Caravaggio and Nicolas Poussin.
1,663 words (approx. 6.7 pages), 8 sources, APA, $ 54.95
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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."
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Religious Paintings by Caravaggio, 2008.
An iconological study of five religious paintings by Michelangelo Merisi da Caravaggio.
1,150 words (approx. 4.6 pages), 3 sources, MLA, $ 39.95
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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."
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"A Concert" by Caravaggio, 1992.
An analysis of the 1595 painting as example of early Baroque style.
1,350 words (approx. 5.4 pages), 6 sources, $ 47.95
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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..."
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Baroque vs. Rococo, 2004.
Describes and compares Baroque art and Rococo art.
2,324 words (approx. 9.3 pages), 9 sources, MLA, $ 71.95
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Abstract
This paper looks at two different styles of art, Baroque and Rococo, and discusses the works of famous artists of both types of art. The paper discusses the similarities and differences in the styles and techniques of Baroque artists, Caravaggio and Annibale Carracci, and Rococo artists, Watteau and William Hogarth.
From the Paper
"As mentioned before, Annibale Carracci was among the monst influential painters of the Baroque period. Contrary to Carravaggio, he was inclined to use clear, pale colors, as a mean to achieve the elegance and grace that were desired by the commissioners. Influenced by Raphael?s Stanzas in the Vatican, Carracci also predicted a return to the fresco style of painting and revealed this in the decoration of the Farnese Gallery in Rome. Carracci formed himself as a painter together with his brother Agostino and his cousin Lodovico at the latter?s studio, but it was soon clear that Annibale was the more talented of the three. He was called to Rome in 1595 by Cardinal Odoardo Farnese to paint what was to be his masterpiece: the decoration of the Farnese Gallery, in the Farnese Palace."
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Cindy Sherman & Italian Baroque Painters, 1999.
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, $ 111.95
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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.."
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Technique in Art, 2002.
The paper looks at the role of style in art.
1,130 words (approx. 4.5 pages), 2 sources, MLA, $ 39.95
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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."
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