Essay about Caravaggio's First Inspiration of St. Matthew

During the Baroque Ages a man by the name of Caravaggio was a very prominante artist,

First, it is tempera on panel, which possibly could explain many imperfections. But what really catches your attention in Gentile’s painting is an absolute lack of air, along with irrational usage of space. It seems like the artist was stacking human figures in the painting, so that everybody’s face would be shown. There we can see a greater deal of International Gothic style (straight lines, look-alike faces, awkward/illogical body positions, etc.) Still the most significant difference between Rogier’s work and Gentile’s work is the usage of space, presence of atmosphere. While going up the hill, in “Adoration of the Magi”, all the details stay the same as if there was no air. It’s impossible to ignore artist’s very primitive light/shadow usage: not only it’s extremely difficult imagine where the light source is, but you can’t even find a single rational shadow. Rogier van Weyden’s “St. Luke drawing the Virgin” surely excelled the painting of Gentile da Fabriano in many aspects.

Caravaggio’s demonstration of the power of art was using art as leverage to become a nonnoble in a chivalric order and to gain freedom for his crimes.

A tradition of journeying to Rome, Italy for training or to simply improve upon one’s artistic skills was carried out by many Dutch history and genre with landscape painters. As a result, the use of the Italians as a source of inspiration and emulation can be identified in their works and presents one of the underlying principles that connects the different thematic categories together. Hendrick ter Brugghen was a history painter who belonged to the Utrecht Caravaggists. Just as the name of the group implies, these artists were from Utrecht and heavily influenced by Michelangelo Merisi da Caravaggio. Ter Brugghen’s Calling of Saint Matthew of 1621 provides an exemplary example of this. It is not only similar to Caravaggio’s own Calling of Saint Matthew of 1599 to 1600 with the subject

Artists that concentrated on the Baroque style of painting had an uncanny ability to display their style more so than the artists of the Renaissance era. In respect to their different approach towards shape, room, and work of art, the differences in their styles resulted in dissimilar descriptions. Renaissance and Baroque seem to concentrate towards the treatment of space, appearance, and color. This uniqueness affects the description of a painting and therefore it cannot be seen. More so, than in comparing Perugino's Christ delivering the Keys of the Kingdom to St. Peter from the Early Renaissance to Caravaggio's exchange of St. Paul from the Baroque style.

Prior to Raphael’s The Alba Madonna, there had been numerous paintings of the Virgin Mary and Baby Jesus. What was unique about this one was the fact that a very young John the Baptist was included. In his painting, Raphael has John the Baptist holding a cross and the Baby Jesus grasping it. All three subjects in the painting are gazing at the cross. Church teachings state that Jesus had an understanding of his fate at a very young age. This painting signifies that understanding. Baby Jesus is accepting his future fate of suffering and dying on the cross. His mother Mary and cousin John are also accepting of his fate. Raphael has captured

An artist has the ability to connect with one’s audience through their art and the obscure connotations that appear beneath it, not just the image that lies on the surface. Artists Jan Van Eyck and Caravaggio communicate these implications through their work, utilising symbols and motifs. Van Eyck’s The Arnolfini Portrait (1434) explores the social status of the time, along with the issue of marriage between two unequals. Caravaggio’s The Beheading of Saint John the Baptist (1608) reflects the world of his time’s attitude on violence and the insensitivity of a positive resolution. Although, these two paintings showcase incredible technique and attention to detail, the context is what is integral to the audience’s understanding of their world

Caravaggio painted it in the year ca. 1597-1601 and it can be found on page 539 of the texbook. The artworks named the Calling of Mathew and Columbus Before the Council of Salamaca are both similar in many ways. They both have the four stylistic characteristics of human drama, immediacy, theatricality, and discriptive realism of particulars. In Columbus Before the Council of Salamaca Powell used the same technique as Caravaggio to create windoms that allow the afternoon sunlight to reflect on the figures at a particular angle. Powell made his windoms visible to the viewer, however Caravaggio did not; he just gave the viewer a sense of having one. They both used light and shadowy dark to create a spot light effect on their figures, the term known as theatricality. Both of these paintings display a great deal of human drama, the first painting show Columbus infront the concil men trying to convince them of his finding, while the second is a babically scene of Jesus Calling Mathew, who was then Levi the tax collector. Those surrounding Jesus were surprise that he wanted a man that must of them thought was the biggest sinner of all to follow him and so were those listening to Mr. Columbus. The immediacy play a great role in both of the paintings, in Calling of Saint Matthew, Jesus raise his left hand to point at Levi,

Saint Mathew, the figure of interest, is pointed out by the implied lines created with the lines of light and the pointed hands. One symbolic feature recognized in the piece is the hand of god replicating that of Adam’s hand from Michelangelo’s Creation of Adam. This made reference to god being seen as the new Adam, due to how Adam’s action created sin, which resulted in the fall of humanity, Christ undoes Adam’s actions by dying on the cross (McDermott, Mar. 5, 2017, Chaffey College). According to Painting Techniques used by Caravaggio: Chiaroscuro, Tenebrism, “[Caravaggio]’s treatment of light and shadow helped to reinvigorate Italian painting by improving the three-dimensionality of figures. In addition, it allowed artists to control the focus of the painting, thus increasing its dramatic content. Lastly… it enabled greater emotional depth and characterization.” Due to this, Caravaggio was an asset to the Counter Reformation and allowed people to relate to his paintings and thus gain appeal to the Catholic Church.

Most forms of Catholic Baroque art are assertive and, as intended, assault ones senses. The evolution of religious art from the uniform composition characteristic of the Italian Renaissance through the evolving Mannerism in to the bold and striking Baroque was striking to say the least. The stylistic changes from Da Vinci's The Last Supper to Tintoretto's version in the 1590's bear a perfect example of this transition. The point of view in Da Vinci's was central and allowed for a

Michelangelo Merisi, known as “Caravaggio” was known for introducing realism and drama by using theatrical lighting and gesture to Italian Baroque art. Caravaggio’s paintings were focused on religious matter commissioned for the Catholic Church. Georges de la Tour was well known in his own time but then forgotten until well into the twentieth century. His work consisted mostly of candlelit subjects, and he commissioned paintings for royal aristocrats such as King Louis XIII and Henry II of Lorraine. George de la Tour is one of the most important examples of the many artists during the seventeenth century who were greatly influenced by the work of Caravaggio.

I am writing about Caravaggio a famous artist in Rome. Caravaggio is known for his tenebrism technique that he used in his art. Caravaggio was known for getting in trouble by fighting a lot. He killed some on once and then not long after he fled Rome. Caravaggio has also painted a chapel.

This essay will explain the biographical and iconographic approach in interpreting works of art in art history and examine the process that would need to be undertaken to apply to in which Antonio Correggio’s Madonna and Child with Infant John the Baptist 1514-15. The differences and similarities of the two approaches will investigated in terms of what aspects of the painting they examine. Both approaches also rely on the further investigation and research of additional resources to support their claims. Examples of additional sources needed in each methodology to interpret the painting will also acknowledged. Antonio Correggio’s Madonna and Child with Infant John the Baptist 1514-15 is an oil on wood panel painting produced in Italy during the Renaissance. From first glance, a viewer may understand the painting as filled with theological and biblical references taken from their practical experience and historical knowledge. The two methodologies that will be used to interpret the painting will examine in more depth the processes in which needs to be utilised to form a better and in depth understanding of the

The objective of this work examines the how Leonardo Da Vinci's work is reflective and definitive of the Renaissance period and as well, describes some of Da Vinci's art. This work will discuss the use of line, form, color, texture, and materials as found within one of his works and will state reasons this time period was chosen to examine in this work and why it is found to be appealing.

The Italian Renaissance, which occurred between the fourteenth and sixteenth centuries, was a period of dramatic cultural change where tremendous achievements were made in literature, architecture and art. Michelangelo Merisi da Caravaggio, born in Milan, Italy on September 28, 1571, was a Renaissance artist. He is remembered for his revolutionary yet controversial art which was often deeply rooted in religion. Caravaggio painted during the Counter-Reformation when the Catholic Church was actively decorating churches with extravagant artwork while trying to win back Protestants who had converted from Catholicism. Caravaggio embodied the spirit of the Renaissance by demonstrating individuality through his