Caravaggio's The Betrayal Of Christ

The two paintings I have chosen to discuss are Temptation of Adam and Eve by Masolino da Panicale and Masaccio’s Expulsion of Adam and Eve from Paradise. Both paintings are from the Early Renaissance period, Masolino’s from 1425-27 and Masaccio’s from c.1425. These works are frescoes painted onto the walls of the Brancacci Chapel in Florence. The Expulsion has dimensions of 12.4m x 0.9m whereas the Temptation measures 2.14m x 0.89m. This essay will compare and contrast elements of style, including subject, shape and form, colour and light and aspects of technique, the effect the artists have achieved and whether the paintings are naturalistic.

In general, both Giotto’s Lamentation and Caravaggio’s Entombment are idealistic paintings for their times. They both show the artistical achievements for their era by their use of detail and new techniques that are available for them to use within their perspective paintings. These

This is a painting by Caravaggio. It is a representation of Jesus Christ walking into a room and pointing at St. Matthew. St. Matthew was a tax collector and all he cared about was friends and money. In this painting god addresses St Matthew by pointing at him and the light reflects on his face from christ’s direction. God is choosing St. Matthew in the painting to follow the beckoning Galilean.

The dark background relates to the fact that in the Baroque era, they were going through a dark time, almost to say lead by a dark force that was taking away people from the Catholic Church. These different religious were also mostly only believing in God or Jesus, and my opinion is that all these paintings didn’t just focus on them the also included angels, Mary, or anyone else considered important in the Catholic faith. That is why I think that they only highlight the face to give these different people to acknowledgment them and everything else is casted in the dark with the

Vittore Carpaccio’s symmetrical input truly served it’s purpose. Focusing on the center third of the painting, there’s a mere perfect symmetrical contrast of life and death top to bottom. Most impacting is the symmetrical division of the malnourished and tortured body of Jesus Christ, The left side of his body is in a lively sitting posture on the throne. While his right side is the embodiment of death, his punctured ribs and dangling arm. From the ground up, Carpaccio illustrates the contrast of life and death with minimal details in the painting. The supporting stones of the throne, directly below the arm rests, are divided by breakage, the left stone is cracked and falling apart, while the opposing stone appears to be intact. Vittore Carpaccio managed to capture the cycle of life with many elements one wouldn’t think of comparing life and death with. The top left portion of the throne is a half broken, followed by Jesus’s deadly posture to the falling apart ground stone of the throne, Death is captured in a very recognizable minimalistic form.

The painting is based on the scene where Jesus was betrayed by his disciple Judas. Judas promised those who wanted to arrest Jesus that he will help in identifying the Christ. The painting depicts the details that the Bible described. It portrays the moment the kissing took place thus enabling the guards to identify him. At the center of the painting, Jesus and Judas are embracing each other surrounded by other men.

This painting depicts a crucifixion outside the city of Jerusalem, discernible by the centrally planned church and rounded red rotunda in the background of the city. Rounded structures that resemble towers align the walls of the city, another definitive element of the biblical city. Although the painting clearly represents an idealized Jerusalem, it emulates a contemporary European town of the Northern Renaissance age, with Gothic architecture and what resembles shops at the front of the city. The painter also depicts the mountainous terrain of Jerusalem, but portrays greenery that the actual desert city would not have. The contemporary background makes the painting less abstract and more relatable to the viewer.

Michelangelo de Caravaggio is one of the most renowned and popular artists of the Baroque Period. In fact, many paintings from this period, as well as after have been described as “Caravagesque.” Caravaggio’s works are some of the most popular in Italy, as well as around the world, and have been put into there own stylistic group. In his painting, the Martyrdom of St. Matthew, there contains certain characteristics that make the painting easily recognizable to a connoisseur of fine paintings. This paper will discuss some background of this artist’s life, the content of the work, some ideas that it portrays and contains, and a visual description of the painting.

Caravaggio’s The Sacrifice of Isaac is a classic work of art that displays many different types of fundamentals of art, including but not limited to, directional line, contrast, emphasis, and focal point, which I will be highlighting. Upon reflection of this work, I feel strong emotions of disturbance, sadness, and despair. It is an image of the story in the Old Testament when God told Abraham to sacrifice his son, Isaac. Abraham showed God his obedience, and God spared Isaac’s life. This work’s emotional touch is paired with excellent examples of how the fundamentals of art are used to reach into people’s hearts and souls.

11), and was commissioned by Marcantonio Doria in spring of 1610. Helen Langdon points out how the artist’s self portrait in the image, to the right of the executioner, is marked with tragedy and despair. She compares his persona to the earlier Taking of Christ (Fig. 12), “where he painted himself in a similar pose, but whereas that conveyed a flamboyant pride in creativity, this is a drained and desperate image” . She goes on to claim that Caravaggio is not looking “at the splendor of a world he has created, but at the horror of death” , which would reflect his psychological state at the time. The master was drained from being on the run and constantly threatened, and while still possessed the talent he had in his earlier years, had drastically changed the tone of his pieces.

Caravaggio uses chiaroscuro to emphasize St. Paul ecstasy. The servant and the horse are plunged in darkness. The artist wanted to get the feeling of contrast between light from the sky and ordinary background, which is dark. Caravaggio gave up painting God and angels instead he painted presence of God in divine light. There is a dramatic contrast between supernatural light and ordinary darkness. Paul young, beautiful and ecstatic persona is countered with very realistic image of a servant and a horse.

The hand of Jesus is extended outwards underneath the cross of the window. Caravaggio used a palette of color consisting of a bold contrast of reds, golds, and greens along with various textures of velvets and soft furs. The location of this painting is at the Contarelli Chapel, Church of San Luigi dei Francesi, Rome, created in 1599-1600.

Since I like plays, the enthusiastic force of Michelangelo Merisi da Caravaggio dramatic way to deal with holy account is generally engaging. This is found in his portray of The Conversion of St. Paul (Fig. 23-12). Educated in northern Italian Renaissance conventions on line and structures Caravaggio with accentuation on the treatment of light and shade in drawing and painting called "chiaroscuro," and in addition in Venetian shading and without fringes, past the center plane called "sfumato". Caravaggio's topic impact in wording is foreboding and naturalism. His Conversion of St. Paul is engaging in light of the fact that it is a religious "road theater," painting. The worth type of the depiction has a vast range of darkness, and the figures

This painting depicts one of Raphael's favorite subjects, that of Our Lady with the Infant Jesus. However, unlike his famous Madonnas, this one presents another figure, Saint John the Baptist, Jesus' cousin and precursor, as a child. All three figures look directly at the reed cross Jesus holds, a reference to his future crucifixion. The knowledge of Jesus' cruel death is shared by all of them and so is the acceptance of sacrifice in each of their lives.

In this portrait there are about seven people helping Jesus from the cross after his death. This painting seems to be have been painted in a Baroque style because it reflects emphasizes on emotion and demonstrates a historical event in the Holy Bible. This painting also uses the intense devastated emotions of Jesus’ followers having to take down a man they believe is all powerful down from the cross. This makes me think of The Autobiography of Doña Catalina de Erauso because of Jesus dying on the cross to forgive the sins of the people is the most unselfish act one man to do, therefore, they still worship, thank, and morn for what he did for the people. Thus giving the church hierarchies like priest and bishops power because they are supposed to know what is right for the