Karteikarten
Caravaggio final exam
Karten in diesem Stapel (43)
- 1—Christ and the Woman Taken in Adultery
Lotto
1527
Crisp, clear characters
Tenebrism like C.
Influenced by Michelangelo like C. - 2—Kiss of Judas
Caracci
Moment of drama
Similar tenebrism
- 3—Martha and Mary Magdalene
1598
Caravaggio
Martha trying to convert Mary, symbols of indulgence on table, orange blossom/ring on finger symbolic of becoming bride of Christ
- 4—Martha and Mary Magdalene
1621
Vouet
Set up similar to Caravaggio
- 5—Judith Beheading Holofernes
1598
Caravaggio
- 6—Judith Slaying Holofernes
1611
Gentileschi
- 7—David and Goliath
1600
Caravaggio
Originated tenebrist, realist style that Spanish artists picked up
- 8—David with head of Goliath
1610
Caravaggio
In Scipione Borghese collection
Self portrait in head, David represents Carvaggino
Element of self-disgust
- 9—Triumph of David
1610
Manfredi
Caravaggesque close-up, half-length figures
- 10public comissions-In situ**
-~1599 starts public commissions = more money, work seen by many people
-Del Monte helps, but eventually cannot afford
-Ciracaco and his bro a Cardinal Mattei provide him with a place next
-1st commission is Contrarelli Chapel in San Luigi de Francesci, very near Piazza Nuovo - 11—Calling of St Matthew 1597 Caravaggio
S. Luigi del Francesci
-notice the halo! Probably told to put it on him
-Matthew was a tax collector
-same kid as cardsharps, fortune teller
-Matthew’s face similar to that in LDV’s Last Supper doing that hand raise/jazz hands at the left
-hands directly from Sistine Chapel
-Jesus isn’t an apparition, this is before he dies
-dramatic moment
-painting cut in two: traditional religious garb on right, contemporary clothing on right; being called back to the church, so you (viewer) can too
-sword in front is that that will kill Matthew
-huge cross in the window!
- 12—The Martyrdom of St. Matthew, 1602. Contarelli Chapel, San Luigi dei Francesi
Caravaggio in back
-Dressed people on left, undressed in middle and bottom
unclothed are the pagans, dressed are the Christians OR they’re getting ready for baptism (see stairs), maybe an altar in a baptismal area
-Golden Legend by Voraigne filled in gaps from Bible
-C’s version is different
-angel handing Matthew the martyr palm
- 13—The Crucifixion of Saint Peter
1600 Cerasi Chapel, Santa Maria del Popola, Rome
Caravaggio
Set self up with Martyrdom of St Matthew, this one is much better
- 14—The Inspiration of Saint Matthew
1602
Caravaggio
Contarelli Chapel, San Luigi dei Francesi, Rome
-Original one was rejected (St Matthew and the Angel 1602 w/stupid Matthew)
-foot is out but doesn’t hang over altar like last one
- 15—Saraceni, The Martyrdom of St Cecilia
c. 1610
-similar set up to C’s martyrdom of St Matthew
-musical instruments from Lute Player
-some Gentileshi influence in Cecilia’s face
- 16—Nicolas Régnier
Saint Matthew and the Angel, c. 1620
-close to originall C’s st matthew’s
-Guistiniani hosted him after Caravaggio, got to see his collection
- 17—Saint Jerome in his Study, c. 1617
Cavarozzi
-Similar to Baglione – hair
-Durher print on the right!
-start light = C
-Similar Matthew
-red cloth creates direction
- 18—Saint Jerome with an Angel 1620 Vouet
Skull = symbol of Jerome
- 19—Cupid Chastised
1605-10
Manfredi
Copy of Caravaggio's
- 20—Resurrezione, 1620
Cecco del Caravaggio
- 21—The Conversion on the Way to Damascus
1600
Cerasi Chapel, Santa Maria del Popolo
Caravaggio
Arms are in the same pose as the Madonna
This work seems as though it is a very simplified version of the original
* Could be due to time or that he wanted to be direct with the subject
- 22—The Entombment 1602
Pinacoteca, Vatican
Caravaggio
most monumental. A strictly symmetrical group is built up from the slab of stone that juts diagonally out of the background.
The painting is from the altar of the Chiesa Nuova in Rome, which is dedicated to the Pietà. The embalming of the corpse and the entombment are actually secondary to the Mourning of Mary which is the focal point of the lamentation.
Nothing distinguished Caravaggio's history paintings more strongly from the art of the Renaissance than his refusal to portray the human individual as sublime, beautiful and heroic. His figures are bowed, bent, cowering, reclining or stooped. The self confident and the statuesque have been replaced by humility and subjection.
- 23—Pietà 1600
Carracci
Carracci executed this painting simultaneously with the frescoes in Galleria Farnese in Rome. It shows Carracci's capability to combine in an original way the style of selected artists from the past, in this case those of Correggio and Michelangelo
- 24—Madonna di Loreto,1605, S. Agostino
Caravaggio
There is only a touch of color in this painting, Everything else is brown and dark and muted.
People who are kneeling are pilgrims (and beggars)– their feet are gross
The Madonna is wearing the red, green, gold, and there is a bit of blue on the bottom.
The breast is painted realistically. It is smashed because she is holding the baby and turning her body.
People did not like it because it shows Mary coming to the door barefoot.
- 25—Death of the Virgin 1606
Caravaggio
He did NOT use a drowned prostitute for this painting
Rejected by the Barefoot Carmlites (a group who does work to rehab prostitutes) bc Virgin in disarray on the table. Her hands aren’t crossed, she isn’t nicely dressed, her dress is open at the top exposing some boob, her hair looks awful, her fingers look terrible, Mary Magdalene wasn’t supposed to be there, the Virgin was much older than she was depicted
- 26—Death of the Virgin
Saracini
This shows more of what the church wanted to see in the painting, but instead of being a depiction of the death, it is more about the ascension.
Replaces C's version
- 27—Supper at Emmaus
1601
Caravaggio
He begins to bless it, then they realize it’s Christ
Omnipresent fruit basket
Peter’s giant hand
Glowing light on Christ signals spirituality
- 28—Supper at Emmaus
1606
Caravaggio
Same model for St Anne
This later version of the subject is more restrained in colour and action than that in the National Gallery, London, less symbolic, more reverential
- 29—The Supper at Emmaus
Attributed Cavarozzi
1620
Naked but so we can see the wound
It’s well lit
- 30—The Incredulity of Saint Thomas
1601
Caravaggio
Most copied panting of his
Drama of disbelief
- 31—Taking of Christ
Cara.1602
attribution doubtful
- 32—Caravaggio
Sacrifice of Isaac 1602
Story from bible
Background is very much like Titian – atmospheric perspective
- 33—Sacrifice of Isaac
1597-99
Possible caravaggio?
- 34—Orazio Gentileschi
The Sacrifice of Isaac, 1615
Left color is more accurate
Keeps landscape ala C’s edition
Possibly pulled from St Matthew and Angel (Continari Chapel)
- 35—Amour Victorious 1602 Caravaggio
Lightened version
Cupid grown up is odd
Everything points to his penis wtf
Was censored! Not sure what though, not specified
Musical instruments/armor related to parentage
Up the thigh, similar to The Musicians
Same motifs that bring us into art that he’s used from the beginning
Body is similar St Bartolomeo holding skin in Sistine Chapel
- 36—Caravaggio??
The Crowning with Thorns (Prato) 1602
Not cut off at the waist so whole story is fit in (flagellation of Christ)
Stick is pushing thorns onto his head
Heads come together to create focal point along with light
See next slide
Influences Manfredi
- 37—The Crowning with Thorns 1603
2nd version possibly?
People say no because it’s kinda flat, hard to tell
Disproportionate
- 38—Ecce Homo, c. 1612
Manfredi
Similar to C's 1602 Taking of Christ (red cloth)
- 39—Caravaggio
Saint John the Baptist in the Wilderness 1604
Last of 3 John’s he does
LOTS of brown for some reason, large
Supposed to be in desert but he’s put in a forest instead for all of them
Where’s the Lamb of God?
- 40—St. John the Baptist (Youth with Ram)1602
Caravaggio
Similar to sexy cupid one
Red and white cloth
Muscular as heck
Based on a Michelangelo Sistine chapel figure
- 41—St John the Baptist
1603
Caravaggio
modernistic reading aimed at pointing out a certain air between contempt and arrogance.
- 42—David and Goliath
c. 1600
Caravaggio
Self-portrait
- 43—Heavenly Love and Earthly Love 1602
Baglione John Garbage
Competed with C's Amor Victorious
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- Karteikarten am Caravaggio final exam, erstellt von Kelly Anne am 02/12/2016.
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- Kelly Anne
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