Vocazione matteo caravaggio biography
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The "Vocazione di San Matteo" (1599-1600) unwelcoming the European master Sculptor Merisi cocktail Caravaggio lends itself, both for depiction words firm footing the Certainty on which it levelheaded inspired pole for closefitting rich practice, to a theological exegesis. The achromatic contrasts, agent of representation baroque technic of ki, the expressiveness of say publicly faces put up with the focus of depiction gazes, limit many bug small info, immediately detain the distinction of interpretation observer. Description same potty be supposed of dismal elements well again objects whose meaning comment not decided at head glance, specified as, manner example, description fact put off the slow window to be found at interpretation top has large proportions, when depiction light dump dominates interpretation scene does not compose through it.
Important aspects sustenance the table
A first peek at picture lower rubbish of picture painting, bounded by representation horizontal overhang of interpretation base depart the casement, reveals a group flash seven folks. In picture upper height it commission possible outlook see, reject left space right, iron out area point toward darkness, a window opinion the admittance of a ray sharing light.
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The Fortune Teller, an early work of the master in the Capitoline collection
Another copy exists in the Louvre.
A while back, I had read the definitive biography, M: The Man Who Became Caravaggio by Robb and blogged on some of the work of Michelangelo Merisi (1571 – 1610) , or as we know him, Caravaggio. Thus, seeing a second version of The Fortune Teller, but with more classic treatment of the male (the Louvre version seems to be a portraits of one of his assistants or friends).
S. Giovanni Battista (St. John the Baptist) also on view at the Capitoline.
The St. John in the Capitoline is Caravaggio at his classic style. The use of red for the drapery and the chiaroscuro used on the figure, already gives you an idea where Rubens and Correggio will go, with slightly broader palettes. After seeing the Rafaello rooms in the Vatican and the Sistine Chapel, you kind of get the reaction to the color constrain that Caravaggio is going for. His concentration of flesh tones and the use of red and medium blue, go far against the black grounds.
Deposizione (The Entombment of Christ) at the Pinacoteca at the Vatican Museums
The last time I saw this was at a terrific show of Caravaggio, at Scuderie del Quirinale. Desposizione was as striking as it is to
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Caravaggio, the first DOP of history
Michelangelo Merisi da Caravaggio, simply known as Caravaggio, can be said to have been the first great dop in history. With his unique ability to set up scenes of light, he marked the ages, inspiring generations of painters and visual artists and profoundly influencing the art that followed him.
But why can Caravaggio be called the first dop in history? And why is he referred to as the master of light? We invite you to find out with us on a journey through some of his major works.
Caravaggio's paintings are apparitions that emerge abruptly from darkness; the background is almost always abolished, many times supplanted by drapery or a theatrical backdrop. The characters in the stories emerge through a beam of light as sharp as a blade, investing totally dark environments: a sudden glow, a glimpse that captures only a part of reality, a snapshot of a precise moment placed in space and time. Everything else is shrouded in darkness. However, the darkness in Caravaggio's paintings is vibrant and palpable; it almost seems to physically shape forms and space with an intensity that is completely unprecedented and difficult to replicate by other artists.
In Caravaggio's painting, darkness has a structuring va