The document discusses the High Renaissance period from 1490-1527 and the development of chiaroscuro technique. It then focuses on Michelangelo Caravaggio's use of tenebrism, a dramatic form of chiaroscuro using deep shadows. Caravaggio lived from 1571-1610 and is known for bringing about techniques that influenced the Baroque period through his realistic religious works featuring tenebrism. The document concludes by mentioning Caravaggio's followers, the Caravaggisiti.

2. High Renaissance
(1490-1527)
 Chiaroscuro: beginning with base tone toward
lighter shades to show contrast
Portinari Alterpiece (c. 1475), Hugo van der Goes (Flemish), Galleria degli
Uffizi, Florence, Italy

3. High Renaissance
(1490-1527)
 Chiaroscuro: beginning with base tone toward
lighter shades to show contrast
Diogenes (c. 1524-1529;
woodcut), Ugo da Carpi
(Italian)

4. High Renaissance
(1490-1527)
 Chiaroscuro: beginning with base tone toward
lighter shades to show contrast
Hercules at the Crossroads (1640-1642), Giovanni Baglione
(Italian), National Gallery of Slovenia, Ljubljana

5. Michelangelo Caravaggio
(1571-1610; Italian)
 Born into the earlier years of the Counter-Reformation, which led
the Church to seek religious work to counter Protestantism
 Began his popular career with Martyrdom of St. Matthew
(1600), having focused on male youths with sexual subtleties
beforehand
 Died of a fever with a death warrant issued by the Church still in
place after his murdering a young man in Rome
 Averaged 3-5 major paintings each year from 1592-1610
 Only rediscovered in the early 20th Century with many works
contributed to his followers, the Caravaggisiti
 Credited as one of the influences bringing about techniques that
ushered in the Baroque era of painting

6. Tenebrism
 tenebrism: dramatic chiaroscuro in which darkness
dominates
Naturally occurring chiaroscuro
and tenebrism with Werner
X, created by the rims of
Purbach, La Caille, and
Blanchinus craters

7. Martyrdom of St. Matthew
(1599-1600)
Contarelli Chapel, San Luigi dei Fracesi, Rome, Italy

8. The Calling of St. Matthew
(1599-1600; La Vocazione di San Matteo)
Contarelli Chapel, San Luigi dei Fracesi, Rome, Italy

9. The Crucifixion of Saint Peter
(1601; Martirio de San Pietro)
Cerasi Chapel, Santa Maria del Popolo, Rome, Italy

10. Judith Beheading Holofernes
(1598-1599)
Galleria Nazionale d’Arte Antica, Rome, Italy

11. Saint Gerome
(1605-1606; San Gerolamo)
Galleria Borghese, Rome, Italy

12. The Taking of Christ
(1602)
National Gallery of Ireland, Dublin, Ireland

13. The Conversion of St. Paul
(1607)
Cerasi Chapel, Santa Maria del Popolo, Rome, Italy

14. The Crowning with Thorns
(1607)
Kunsthistorische Museum, Vienna

15. Death of the Virgin
(circa 1601-1606; La Morte della Vergina)
Borghese, Rome, Italy

16. Reclining John the Baptist
(circa 1610)
Private Collection

17. Caravaggisti
Judith and Her Maidservant with the Head of Holoferenes (c.
1625); Artemisia Gentileschi (Italian)

18. Discussion Questions
 Is tenebrism truly different from chiaroscuro, or is it
simply a more advanced use of the technique?
 How did the anatomy aspect of mannerism change
with the onset of the Baroque style? Do you think
this is related to the evolution of chiaroscuro and
tenebrism?
 Does Caravaggio’s use of color interact with the
impact of his use of lighting? Why or why not?
 How did the Caravaggisiti develop his technique
further, or did they simply copy him?