This Lecture Examines Caravaggio's Conversion of St Paul As A

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This Lecture Examines Caravaggio's Conversion of St Paul As A

Art Appreciation Lecture Series 2018 The hidden language of art: symbol and allusion Rebirth in Caravaggio’s Conversion of St Paul Michael Hill 21 and 22 March 2018 Lecture summary: This lecture examines Caravaggio’s Conversion of St Paul as a profound reflection on the theme of blindness as a gateway to spiritual renewal. The painting depicts the moment Paul, the future author of the Greek epistles that comprise the bulk of the New Testament, is blinded by the light of Christ. Luke tells the story in the Acts of the Apostles (22: 5-11. The Conversion is a pendent to the Crucifixion of St Peter on the facing wall, which shows an upside down Peter being raised atop the Janiculum. Both paintings are fictively lit by a Dove of the Holy Spirit painted on the barrel vault of the antechamber and both are witnessed obliquely by devotees from directly underneath this vault. The two paintings, heavy with the darkness of the fallen world, contrast – deliberately, one would think - with the bright, ideal, and Heaven-bound figures of the chapel’s altarpiece, The Assumption of the Virgin , by Annibale Carracci as a component of the same commission Slide list: 1. Caravaggio, Conversion of St Paul, Cerasi Chapel, Santa Maria del Popolo, Rome,1600 2. Caravaggio, Crucifixion of St Peter, Cerasi Chapel, Santa Maria del Popolo, Rome, 1600 3. Annibale Carracci, Assumption of the Virgin, Cerasi Chapel, Santa Maria del Popolo, 1601 1. Caravaggio, Conversion of St Paul (rejected), Odelscalchi Coll, Rome, 1600 2. Caravaggio, Inspiration of St Matthew (rejected), Lost, 1602 3. Caravaggio, Inspiration of St Matthew, Contarelli Chapel, San Luigi dei Francesi, Rome,1602 4. Caravaggio, Penitent Magdalen, Gall Doria Pamphili, 1595 5. Caravaggio, Ecstasy of St Francis,1595 6. Pinturicchio, Adoration of the Christ Child, Delle Rovere Chapel, Santa Maria del Popolo, Rome, 1490 Reference: Catherine Puglisi, Caravaggio , Phaidon: London, 2000 . Proudly sponsored by .

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Journal of Arts & Humanities Volume 09, Issue 06, 2020: 01-11 Article Received: 26-04-2020 Accepted: 05-06-2020 Available Online: 13-06-2020 ISSN: 2167-9045 (Print), 2167-9053 (Online) DOI: http://dx.doi.org/10.18533/journal.v9i6.1920 Caravaggio and Tenebrism—Beauty of light and shadow in baroque paintings Andy Xu1 ABSTRACT The following paper examines the reasons behind the use of tenebrism by Caravaggio under the special context of Counter-Reformation and its influence on later artists during the Baroque in Northern Europe. As Protestantism expanded throughout the entire Europe, the Catholic Church was seeking artistic methods to reattract believers. Being the precursor of Counter-Reformation art, Caravaggio incorporated tenebrism in his paintings. Art historians mostly correlate the use of tenebrism with religion, but there have also been scholars proposing how tenebrism reflects a unique naturalism that only belongs to Caravaggio. The paper will thus start with the introduction of tenebrism, discuss the two major uses of this artistic technique and will finally discuss Caravaggio’s legacy until today. Keywords: Caravaggio, Tenebrism, Counter-Reformation, Baroque, Painting, Religion. This is an open access article under Creative Commons Attribution 4.0 License. 1. Introduction Most scholars agree that the Baroque range approximately from 1600 to 1750. There are mainly four aspects that led to the Baroque: scientific experimentation, free-market economies in Northern Europe, new philosophical and political ideas, and the division in the Catholic Church due to criticism of its corruption. Despite the fact that Galileo's discovery in astronomy, the Tulip bulb craze in Amsterdam, the diplomatic artworks by Peter Paul Rubens, the music by Johann Sebastian Bach, the Mercantilist economic theories of Colbert, the Absolutism in France are all fascinating, this paper will focus on the sophisticated and dramatic production of Catholic art during the Counter-Reformation ("Baroque Art and Architecture," n.d.).
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Santa Maria Del Popolo Piazza Del Popolo Metro Station: Flaminio, Line a 7 AM – 12 PM (Closed Sunday) 4 PM – 7 PM (Closed Sunday)
Santa Maria del Popolo Piazza del Popolo Metro station: Flaminio, line A 7 AM – 12 PM (Closed Sunday) 4 PM – 7 PM (Closed Sunday) Sculpture of Habakkuk and the Angel by Bernini (after 1652) in the Chigi Chapel Crucifixion of St. Peter (1600-01) by Caravaggio in the Cerasi Chapel. Baroque facade added by Bernini in 1600 Standing on the Piazza del Popolo, near the northern gate of the Aurelian Wall, the Basilica of Santa Maria del Popolo is a small temple with a splendid Renaissance decoration in its interior. In its interior Santa Maria del Popolo’s decoration is unlike any other church in Rome. The ceiling, less high than most built during the same period, is practically bare, while the decoration of each of the small chapels is especially remarkable. Among the beautiful art work found in the church, it is worth highlighting the Chapel Cerasi, which houses two canvases by Caravaggio from 1600, and the Chapel Chigi, built and decorated by Raphael. If you look closely at the wooden benches, you’ll be able to see inscriptions with the names of the people the benches are dedicated to. This custom is also found in a lot of English speaking countries like Scotland or Edinburgh, where the families of the person deceased buy urban furniture in their honour. ******************************************** Located next to the northern gate of Rome on the elegant Piazza del Popolo, the 15th-century Santa Maria del Popolo is famed for its wealth of Renaissance art. Its walls and ceilings are decorated with paintings by some of the greatest artists ever to work in Rome: Pinturicchio, Raphael, Carracci, Caravaggio and Bernini.
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Apostle to the Gentiles” Has Begun
50 Copyright © 2010 Center for Christian Ethics at Baylor University Due to copyright restrictions, this image is only available in the print version of Racism. In Caravaggio’s painting, Saul is knocked flat on his back before our eyes and almost into our space. His suffering as the “apostle to the Gentiles” has begun. Michelangelo Merisi da Caravaggio (1573-1610), THE CONVERSION OF ST. PAUL (1600-1601). Oil on canvas, 90½ ” x 70”. Cerasi Chapel, S. Maria del Popolo, Rome, Italy. Photo: © Scala / Art Resource, NY. Used by permission. © 2010 Center for Christian Ethics at Baylor University Apostle to the Gentiles BY HEIDI J. HORNIK aravaggio painted The Conversion of St. Paul as a pair with Crucifixion of St. Peter to establish a theme of suffering. The suffering of Peter, Cthe apostle to the Jews, as he is crucified upside down on a cross is immediately apparent. As the apostle to the Gentiles, Paul endured suffering and ridicule as he took the gospel to those outside the Jewish faith. Monsignor Tiberio Cerasi, treasurer general under Pope Clement VIII, com- missioned Caravaggio to paint the two pictures in his recently acquired private chapel in Santa Maria del Popolo, Rome. On September 24, 1600, Caravaggio signed a contract to paint them on two cypress panels measuring 10 x 8 palmi.† Keeping close to the details in the biblical accounts of the apostle’s con- version (Acts 9:1-6, 22:5-11, 26:13), Caravaggio does not embellish the narrative with an apparition of God or angels. The psychological dimension of the painting is very modern: Saul, the Jewish persecutor of Christians, is knocked flat on his back before our eyes and almost into our space.
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Caravaggism in the Work of Guido Reni Man Ltmdrns
Caravaggism in the Work of Guido Reni Man ltmdrns An important key to understanding Guido Reni's personal theme was the revival of e.irly Chiistian roots. This painting, style is his interest in opposing qualities. These opposites in lauded for gentleness that the 01iginal lacked, in addition to the clude his representation of tensions between lhe heavenly and 1601 Martyrdom ofSt. Cecilia and Com11atio11 ofSts. Cecilia temporal. holy grace u-iumphant over an earthly morass. vii1u and Valerian gave Rcni popularity which extended. for the first ous physical beauty versus the execrated Christian body. On time, beyond Bologna. By looking at these. we can see 1ha1 this partially autobiographical element of Reni's Style, very linlc Reni called upon the simple, rigid sy1mnetry of early Christian has been w1i11en in depth, although there is some mention of paintings as well as the trend of local interest in tenebrism. this dialectic in most of the literature on Reni. Of those slight Also at this Lime, the Cavaliere d'Arpino was instn1mental obligatory references, most discuss composition and the op in obtaining important pau-onage for Reni. He did this 10 over posing relation of Caravaggio's style to Rcni's. If a similarity shadow the growing success of Caravaggio. By I 602. Reni between the artists is mentioned. it is usually in reference to was sraning to work Loward a more expressive naturalism of Ren i's 1604 Crucifixjo11 ofS1. Pe1er (Figure I) or. in a few cases, his own. The rigid compositions of the Saint Cecilia paintings the 1606 Da,,id with 11te Head of Goliath.
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Simen-K--Nielsen---Master---2017.Pdf (7.176Mb)
The Iconic (Re)Turn: Caravaggio’s The Crucifixion of St. Peter between Image, Relic and Martyrdom in Early Modern Italy Simen K. Nielsen Master’s Thesis in the History of Art Department of Philosophy, Classics, History of Art, and Ideas Supervisor: Associate Professor Per Sigurd Tveitevåg Styve UNIVERSITY OF OSLO June 2017 II The Iconic (Re)Turn: Caravaggio’s The Crucifixion of St. Peter between Image, Relic and Martyrdom in Early Modern Italy III © Simen K. Nielsen 2017 The Iconic (Re)Turn: Caravaggio’s The Crucifixion of St. Peter between Image, Relic and Martyrdom in Early Modern Italy Simen K. Nielsen http://www.duo.uio.no/ Trykk: Reprosentralen, Universitetet i Oslo IV Abstract In September 1601 Michelangelo Merisi da Caravaggio (1571–1610) signed the contract to produce two paintings for the Cerasi Chapel in Santa Maria del Popolo in Rome. Modern art historiography contains millions of such details; Yet, a painting is not simply a painting, in the way history is never just history. Things, like language and words themselves, have histories. These intertwine and mesh with social, religious and cultural practices. Consequently, in order to speak about meaning in historical visual cultures, we must reconstruct and engage with these histories. Such is the aim of this thesis. In 1545, Pope Paul III Farnese called the Council of Trent, a great ecumenical endeavour which would last eighteen years, closing in December 1563. What followed was a so-called Post-Tridentine period. At a distance, these compromise what we know as the Counter-Reformation. Caravaggio grew up in the wake of these developments, when the Catholic Church, more or less finding itself in a constant state of spiritual blitzkrieg, devised a new artistic programme for its visual theology.
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List of Works of Art B.A
List of works of art B.A. and B.A. (Hons) History of Art B.A. and B.A. (Hons) History of Art with Fine Arts B.A. and B.A. (Hons) Fine Arts Antiquity to the Early Middle Ages The bison of Altamira, c.15,000-10,000 BC. Khafre, from Giza, c.2500BC, Egyptian Museum, Cairo Seated Scribe, from Saqqara, c. 2400 BC, Paris, Louvre. Bronze Warrior of Riace, c.450BC, Reggio Calabria Charioteer from Sanctuary of Apollo at Delphi, c.470BC Praxiteles, Hermes with the Young Dionysius, (Roman Copy of original of c.320BC), Archaeological Museum, Olympia Pythokritos of Rhodes (?), Nike of Samothrace, c. 190BC, Paris, Louvre The Laocoon Group, Roman Copy or original of 1st Century BC A Roman Patrician with Busts of His Ancestors, Capitoline Museum, Rome Peristyle, Palace of Diocletian, Split, Croatia Ara Pacis, Museum of the Ara Pacis, Rome Basilica of Maxentius, Rome, architecture Dura Europos (Christian House-Synagogue, Mithreum). Early Christian Paintings from the catacombs Peter and Marcellinus, Rome Sarchopagus of Junius Bassus, c.359, marble Mausoleum of Santa Costanza, Rome, architecture and mosaics Mausoleum of Galla Placidia, Ravenna, architecture and mosaics Baptistry of the Orthodox, Ravenna, architecture and mosaics San Apollinare Nuovo, Ravenna, architecture and mosaics San Apollinare in Classe, Ravenna, architecture and mosaics Baptistry of the Arian, Ravenna Page 1 of 9 San Vitale, Ravenna, architecture and mosaics Throne of Maximianus, Ravenna Palace Chapel of Charlemagne, Aachen, architecture Theodulf’s oratory, Germigny des Prés, Paris Abbey Church, Corvey, Germany, architecture The Utrecht Psalter, early 9th century Ivory covers of the Lorsch, Gospels, early 9th century Gold cover of the Codex Aureus of Lindau, c.870AD Miniatures from the Moutier-Grandvalle Bible Gospel book of Otto III, Jesus washing the feet of Peter, c.1000, tempera Crucifix of Archbishop Gero, Cologne, c.
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Caravaggio in Rome: Part III from Santa Maria Del Popolo to Flight
Caravaggio in Rome: Part III from Santa Maria del Popolo to Flight Even before the paint had dried on the final painting of the St Matthew Trilogy for the Contarelli Chapel in the Chiesa Luigi di Francesi, Caravaggio’s reputation had grown to the extent that he had become the most famous and sought after painter in Rome and as such attracted many new commissions. Around 1601-3 he was still in Cardinal del Monte’s household, but with the the approval of the Cardinal, also spent time in the Palazzo Mattei. He continued to arouse intense loyalty from rich and powerful would-be patrons, who never failed to support him when he was in trouble, which with his volatile personality, was an increasingly regular occurrence. The immense privileges offered by his patrons and protectors enraged his rivals and many years later, one of his biographers the painter Mancini, in his account, suggests both envy and malice in equal measure. The Santa Maria del Popolo, is one of three renowned churches that are situated around the Piazza del Popolo, one of most beautiful squares in Rome. Located just inside the Northern Gate, it was the first church, which pilgrims came upon on entering the city. Such now was Caravaggio’s status, that he was commissioned by Monsignor Tiberio Cerasi to paint two paintings for the Cerasi Chapel, designed by Carlo Madreno 1600-1; this much sought after commission was received even before Caravaggio had completed the St Matthew Trilogy in the Contarelli Chapel. At the time, Caravaggio had again descended into the Roman underworld of taverns, drinking, quarrelling and womanising, with his chums, Prospero Orsi and Orazio Gentileschi.
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Journal of the Warburg and Courtauld Institutes Lxxiii
JOURNAL OF THE WARBURG AND COURTAULD INSTITUTES LXXIII ISSNOO75-439O ISBN978-O-85481-151-9 © 2011, The WarburgInstitute Printedby SarumColourview, Old Sarum,Salisbury, SP4 6BU Subscriptionsmay be placedthrough any bookseller or with the Warburg Institute This content downloaded from 193.62.17.26 on Mon, 25 Jan 2016 09:59:13 UTC All use subject to JSTOR Terms and Conditions CONTENTS i THE STARS IN THE LEIDEN ARATEA PICTURE BOOK EllyDekker (with a stardescription in collaborationwith Kristen Lippincott ) 39 PADUA, ITS ARENA AND THE ARENA CHAPEL: A LITURGICAL ENSEMBLE MichaelViktor Schwarz (with an appendixin collaborationwith Michaela Zöschg) 65 TOWER-LIKE TORAH ARKS, THE TOWER OF STRENGTH AND THE ARCHITECTURE OF THE MESSIANIC TEMPLE Ilia Rodov 99 MARY MAGDALEN AND THE BURGUNDIAN QUESTION Susan Haskins 137 THE NUDES IN LIMBO: MICHELANGELO'S DONI TONDO RECONSIDERED ChiaraFranceschini 181 A RELIEF BY PETER DELL (1548) AFTER A DRAWING BY PAUL LAUTEN SACK, AND THE ORIGINS OF THE TERM ' GNADEN STUHL' BertholdKress 195 CREATION, THE TRINITY AND PRISCA THEOLOGIA IN JULIUS CAESAR SCALIGER KuniSakamoto 209 MARY QUEEN OF SCOTS AS SUSANNA IN CATHOLIC PROPAGANDA JeremyL. Smith 221 ASTROLOGY AND EMPIRE. A DEVICE FOR THE VALOIS KING OF POLAND Ewa Kociszewska 257 BARN OWL PAINTERS IN ST PETER'S IN THE VATICAN, 1604: THREE MOCKING POEMS FOR RONCALLI, VANNI AND PASSIGNANO (AND A NOTE ON THE BREECHES-MAKER) MaddalenaSpagnolo 297 THE PRINCE OF ARABISTS AND HIS MANY ERRORS: THOMAS ERPENIUS'S IMAGE OF JOSEPH SCALIGER AND THE EDITION OF THE PROVERBIA ARABICA
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National Library BmIiolhèque nationale 1+1 of Canada du Canada canaasn Theses Service Service des thèses canadiennes Ollawa. Canada K1AON4 NOTICE AVIS Thequalityofthismicroformisheavilydependent upon the la qualité de celte microforme dépend grandement de la quality of the original thesis submilled for microfilming. qualité de la thèse soumise au microfilmage. Nous avons Every effort has been made to ensure the highestqualityof tout tait pour assurer une qualité supérieure de reproduc, reprodudion possible. tion. 1: pages are missing, contact the university which granted S'il manque des pages, veuillez communiquer avec thedegree. runiversité qui a conféré le grade. Sorne pages may have indistind print especially if the La qualité d'impression de certaines pages peul laisser a original pages were typed wilh a poor typewriter nèbon or désirer, surtout si les pages originales ont été dactylogra· if the university sent us an inferior phOIOCOPY. phiées à raide (fun ruban usé ou si l'université nous a fa.t parvenir une photocopie de qualité inférieure. Reproduction in full orin part of this microform is govemed La reproduction, même partielle, de celte microforme est by the Canadian Copyright Act, R.S.C. 1970, c. C-30, and soumise à la Loi canadienne sur le droit (fauteur, SRC subsequent amendmenls. 1970, c. C-30, et ses amendements subséquents. Canada Bernini's s. Andrea al Quirinale The Triumph of Martyrdom By Kevin Kelly A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts Department of Art History McGill University March, 1591 Montreal, Quebec, Canada Copyright 1991 ." ( ,.
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Michelangelo Merisi Da Caravaggio, Called "Il Caravaggio"
: Carravagio took chiaroscuro (light and dark contrasts) to new extremes; http://members.spree.com/entertainment/rapsodia/v/vaggio.htm - pozor TEXT!!!! http://mujweb.atlas.cz/www/kocourj/data/malir0002.htm http://www.geocities.com/SoHo/3165/entrata.htm Michelangelo Merisi da Caravaggio, called "il Caravaggio" Caravaggio Supper at Emmaus Michelangelo Merisi was born in Caravaggio, near Milan, in 1571. After a period of training under the painter Simone Peterzano he came to Rome probably around 1592. According to his biographers, he was employed in the workshop of Antiveduto Gramatica and of cavalier d'Arpino, where he painted mostly still life and small and allegorical canvases. The painting Supper at Emmauswas purchased from Ciriaco Mattei in January 1602, as the "quadro di Nostro Signore in fractione panis" (painting of Our Lord breaking bread), refering to the episode in the gospel of St. Luke, where the disciples encountered on the road to Emmaus a person and only at that precise moment that he breaks bread do they recognise him as Jesus Christ. The painting is never again mentioned in the subsequent frequent inventories of the family, so that evidently it was relinquished quite early, before 1614. The painting passed in the collection of Scipione Borghese, a cardinal who loved Art and was the nephew of Pope Paul V, in whose villa it is described in 1650. Caravaggio painted also another version of the same subject about four years later, during his flight to the South of Italy. This second painting is at the Pinacoteca of Brera in Milano. Patronised by Cardinal Federico Borromeo, who owned a painting by him, called the Fruit basket, now in the Pinacoteca Ambrosiana, and by other eminent Cardinals like Francesco Del Monte and Marchese Vincenzo Giustiniani, he obtained his first public commission in 1599, when he painted the Stories of St.
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I Saw Eternity the Other Night: Baroque
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