The document provides details on several paintings by the Italian Baroque master Caravaggio, including Judith Beheading Holofernes, c. 1598, St. Jerome, c. 1606, Rest on Flight to Egypt, 1596-97, and Boy with a Basket of Fruit, c. 1593. For each painting, it describes the subject matter depicted, relevant context, and key artistic elements and techniques used by Caravaggio. It also includes a short biography of Caravaggio, noting his tumultuous personal life and influence on developing the Baroque style despite being overshadowed after his early death.
The Galleria Borghese is the home of an extraordinary collections of large number of unique masterpieces, dating from antiquity. In 1807 nearly all the archaeological collection was sold by Camillo Borghese to his brother-in-law, Napoleon, becoming an essential part of the Louvre collection in Paris. Some of the pieces sold have been replaced by later acquisitions. The gallery is uniquely located in the middle of a park, serenely blending architecture and nature. Recent restoration, which took over a decade of work, of the build was completed in 1997. Among it collections are half a dozen of paintings by the young Caravaggio, Titan’s painting of ‘Sacred and Profane Love’. Several works by Raphael, some of the best sculpture by Bernini, include the David, Apollo and Daphine etc. It is one of the world most exclusive gallery.
The Galleria Borghese is the home of an extraordinary collections of large number of unique masterpieces, dating from antiquity. In 1807 nearly all the archaeological collection was sold by Camillo Borghese to his brother-in-law, Napoleon, becoming an essential part of the Louvre collection in Paris. Some of the pieces sold have been replaced by later acquisitions. The gallery is uniquely located in the middle of a park, serenely blending architecture and nature. Recent restoration, which took over a decade of work, of the build was completed in 1997. Among it collections are half a dozen of paintings by the young Caravaggio, Titan’s painting of ‘Sacred and Profane Love’. Several works by Raphael, some of the best sculpture by Bernini, include the David, Apollo and Daphine etc. It is one of the world most exclusive gallery.
Teaching four art movements: Baroque, chiaroscuro, realism, idealism as the relate to Diego de Velazquez, the court painter to Philip IV of Spain, one of the main characters in the autobiographical novel, I, Juan de Pareja, by Elizabeth Borton de Trevino
Jacques Louis David (1749—1825) was a very important painter during the late 18C and the early 19C painting. He was the master of Neo-classicism and later Romanticism. At time he was some what artistic Czar of the time. Neoclassicism was a ‘modernising’ artistic movement of the time after the decline of the aristocratic art of Rococo. In 1782 he became an Academician and in 1784 he returned to Rome to paint the Oath of the Horatii (1785), an important painting in the history of painting. It was more like the underground art of its days. During the French Revolution, he became a Deputy and involved with the politics of the day. Many well-known painters of the early 19C were his pupils, including Gerard & Ingres. As a painter, his portraits were supreme. Due to the changing politics of France, he imposed self-exile and cut off from the main stream of Romanticism in France.
A 2000-year old Roman wall decoration frieze known as the 'Aldobrandini Wedding (Nozze Aldobrandini)' was discovered in 1605 on the Esquiline Hill in Rome and soon transferred to a villa on the Quirinal Hill, possession of the Aldobrandini family, hence its name. Since 1818 it belongs to the Biblioteca Apostolica Vaticana in Rome. It was popular among artists of the 17th-19th centuries. See more about it my post of November 8, 2014 'Nuptial Allegory or the Aldobrandini Wedding' http://kbender.blogspot.be/2014/11/nuptial-allegory-or-aldobrandini-wedding.html?view=magazine
Teaching four art movements: Baroque, chiaroscuro, realism, idealism as the relate to Diego de Velazquez, the court painter to Philip IV of Spain, one of the main characters in the autobiographical novel, I, Juan de Pareja, by Elizabeth Borton de Trevino
Jacques Louis David (1749—1825) was a very important painter during the late 18C and the early 19C painting. He was the master of Neo-classicism and later Romanticism. At time he was some what artistic Czar of the time. Neoclassicism was a ‘modernising’ artistic movement of the time after the decline of the aristocratic art of Rococo. In 1782 he became an Academician and in 1784 he returned to Rome to paint the Oath of the Horatii (1785), an important painting in the history of painting. It was more like the underground art of its days. During the French Revolution, he became a Deputy and involved with the politics of the day. Many well-known painters of the early 19C were his pupils, including Gerard & Ingres. As a painter, his portraits were supreme. Due to the changing politics of France, he imposed self-exile and cut off from the main stream of Romanticism in France.
A 2000-year old Roman wall decoration frieze known as the 'Aldobrandini Wedding (Nozze Aldobrandini)' was discovered in 1605 on the Esquiline Hill in Rome and soon transferred to a villa on the Quirinal Hill, possession of the Aldobrandini family, hence its name. Since 1818 it belongs to the Biblioteca Apostolica Vaticana in Rome. It was popular among artists of the 17th-19th centuries. See more about it my post of November 8, 2014 'Nuptial Allegory or the Aldobrandini Wedding' http://kbender.blogspot.be/2014/11/nuptial-allegory-or-aldobrandini-wedding.html?view=magazine
We look at the Church's response to the Protestant Reformation, the Counter-Reformation. Art and culture were employed to arouse the faithful in a physical, visceral way. The addition of drama and tension affected both Catholic and Protestant art.
“Caravaggio (1571-1610) is one of the most revolutionary figures in art. His intense naturalism almost brutal realism and dramatic lighting had a wide impact on European artists, including Orazio Gentileschi, Valentin de Boulogne and Gerrit van Honthorst. Each absorbed something different from Caravaggio, propagating his style across Europe. But by the mid-17C, Caravaggism was at odds with a prevailing preference for classicism and the reputation of these artists waned, not be revived until the mid-20C.” Beyond Caravaggio Introduction.
Caravaggio was one of the most extraordinary characters in the history of art. He was the prototype of the turbulent Bohemian artist, his explosive personality helping to obscure the traditional elements of his paintings. His dramatic use of light and shade and uncompromising realism creating a new pictorial vocabulary for European art. From c1599 he drew on High Renaissance and even antique models, with his decorum defying realism. His influence was indeed greatest on artists in areas of Flemish artistic ascendancy. It is almost impossible to overestimate the influence of Caravaggio.
He was not only the most powerful and influential Italian painter of the 17C, but also one of the prototypes of the idea of the artist as a rebel outside the normal conventions of society, punctuated by disputes with patrons about his unconventional treatment of religious themes. Caravaggio was one of the few real revolutionaries who really changed the history of painting. His aggressively realistic and dramatically lit paintings swept away the remains of the late Renaissance Mannerist style. He marked the beginning of the Baroque painting. Fiercely original Caravaggio had left us a basket of rotting fruits and an aging Madonna that no artist had followed.
Similar to CARAVAGGIO, Featured Paintings in Detail (2) (19)
big and small, lined and soft, round and angular
of felt or velvet
adorned with fur, embroidery, gorgeous bird feathers, ribbons, stones according to the owner’s fortune
grands et petits, doublés et doux, ronds et angulaires,
en feutre ou en velours,
ornés de fourrure, broderies, plumes d'oiseaux magnifiques, de rubans, pierreries selon la fortune du propriétaire ...
Recognised as the most beautiful woman in the Mediterranean civilisations, hers was the face that launched a thousand ships and inspired the legends ...
Rückenfigur ... back figure in paintings.ppsxguimera
Wanderer above the Sea of Fog is perhaps the most iconic Rückenfigur in German Romantic painting …
Rückenfigur, the back-figure is a pictorial theme with significant power.
Rückenfigur ... back figure in paintings
Rückenfigur ... figure de dos dans la peinture.ppsxguimera
Le Voyageur contemplant une mer de nuages est probablement la Rückenfigur la plus emblématique de la peinture romantique allemande ...
Rückenfigur, la figure de dos est un thème pictural d'une grande puissance.
Has been depicted
in mythological and religious paintings, in still life, vanities, allegories, in the genre painting.
From Caravaggio and Rubens to Millet, through Vermeer, Delacroix, Manet, Moreau …
Panier en osier dans la peinture européenne.ppsxguimera
A été représenté
dans les peintures mythologiques et religieuses, les natures mortes, vanités, allégories, dans la peinture de genre.
Du Caravage et Rubens à Millet, en passant par Vermeer, Delacroix, Manet, Moreau ...
The Art of Rain_The beauty of rain in paintings..ppsxguimera
The beauty of rain in paintings.
expected or feared, delicate or stormy, metaphorical or very real, the rain has often entered the imagination of artists ...
L’art de la pluie_La beauté de la pluie dans la peinture..ppsxguimera
La beauté de la pluie dans la peinture.
espérée ou redoutée, fine ou orageuse, métaphorique ou bien réelle, la pluie s’est souvent invitée dans l’imaginaire des artistes ...
Medea and the beautiful Argonaut,
the first human Cain
Romulus and Remus nursed by the same she-wolf,
Vulcan who loves Venus who loves Mars
Eve and the Apple of the Tree of Temptation
and
the most human of emotions that inspired the painters
La jalousie dans la peinture européenne.ppsxguimera
Médée et le bel Argonaute,
le premier humain Caïn
Romulus et Remus nourris au sein de la même louve,
Vulcain qui aime Vénus qui aime Mars
Ève et la pomme de l'arbre de la tentation
et
la plus humaine des émotions qui a inspiré les peintres
créatures mi-hommes, mi-chevaux, habitant les forêts et les montagnes
violents et sauvages, avec une morale brutale, et un amour immodéré pour le vin et les femmes
Explore the multifaceted world of Muntadher Saleh, an Iraqi polymath renowned for his expertise in visual art, writing, design, and pharmacy. This SlideShare delves into his innovative contributions across various disciplines, showcasing his unique ability to blend traditional themes with modern aesthetics. Learn about his impactful artworks, thought-provoking literary pieces, and his vision as a Neo-Pop artist dedicated to raising awareness about Iraq's cultural heritage. Discover why Muntadher Saleh is celebrated as "The Last Polymath" and how his multidisciplinary talents continue to inspire and influence.
2137ad Merindol Colony Interiors where refugee try to build a seemengly norm...luforfor
This are the interiors of the Merindol Colony in 2137ad after the Climate Change Collapse and the Apocalipse Wars. Merindol is a small Colony in the Italian Alps where there are around 4000 humans. The Colony values mainly around meritocracy and selection by effort.
2137ad - Characters that live in Merindol and are at the center of main storiesluforfor
Kurgan is a russian expatriate that is secretly in love with Sonia Contado. Henry is a british soldier that took refuge in Merindol Colony in 2137ad. He is the lover of Sonia Contado.
Hadj Ounis's most notable work is his sculpture titled "Metamorphosis." This piece showcases Ounis's mastery of form and texture, as he seamlessly combines metal and wood to create a dynamic and visually striking composition. The juxtaposition of the two materials creates a sense of tension and harmony, inviting viewers to contemplate the relationship between nature and industry.
19. CARAVAGGIO
Rest on Flight to Egypt
1596-97
Oil on canvas, 133,5 x 166,5 cm
Galleria Doria Pamphilj, Rome
20. CARAVAGGIO
Rest on Flight to Egypt (detail)
1596-97
Oil on canvas, 133,5 x 166,5 cm
Galleria Doria Pamphilj, Rome
21. CARAVAGGIO
Rest on Flight to Egypt (detail)
1596-97
Oil on canvas, 133,5 x 166,5 cm
Galleria Doria Pamphilj, Rome
22. CARAVAGGIO
Rest on Flight to Egypt (detail)
1596-97
Oil on canvas, 133,5 x 166,5 cm
Galleria Doria Pamphilj, Rome
23. CARAVAGGIO
Rest on Flight to Egypt (detail)
1596-97
Oil on canvas, 133,5 x 166,5 cm
Galleria Doria Pamphilj, Rome
24.
25. CARAVAGGIO
Boy with a Basket of Fruit
c. 1593
Oil on canvas, 70 x 67 cm
Galleria Borghese, Rome
26. CARAVAGGIO
Boy with a Basket of Fruit (detail)
c. 1593
Oil on canvas, 70 x 67 cm
Galleria Borghese, Rome
27. CARAVAGGIO
Boy with a Basket of Fruit (detail)
c. 1593
Oil on canvas, 70 x 67 cm
Galleria Borghese, Rome
28. CARAVAGGIO
Boy with a Basket of Fruit (detail)
c. 1593
Oil on canvas, 70 x 67 cm
Galleria Borghese, Rome
29. cast CARAVAGGIO, Featured Paintings in Detail (2)
(Portraits)
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30. CARAVAGGIO
Judith Beheading Holofernes
A whole book in the Bible is devoted to Judith, because as a woman she embodies the power of the people of Israel to defeat the enemy, though superior
in numbers, by means of cunning and courage. She seeks out Holofernes in his tent, makes him drunk, then beheads him. The sight of their
commander's bloodstained head on the battlements of Bethulia puts the enemy to flight.
In the painting, Judith comes in with her maid - surprisingly and menacingly - from the right, against the direction of reading the picture. The general is
lying naked on a white sheet. Paradoxically, his bed is distinguished by a magnificent red curtain, whose colour crowns the act of murder as well as the
heroine's triumph.
The first instance in which Caravaggio would chose such a highly dramatic subject, the Judith is an expression of an allegorical-moral contest in which
Virtue overcomes Evil. In contrast to the elegant and distant beauty of the vexed Judith, the ferocity of the scene is concentrated in the inhuman scream
and the body spasm of the giant Holofernes. Caravaggio has managed to render, with exceptional efficacy, the most dreaded moment in a man's life: the
passage from life to death. The upturned eyes of Holofernes indicate that he is not alive any more, yet signs of life still persist in the screaming mouth,
the contracting body and the hand that still grips at the bed. The original bare breasts of Judith, which suggest that she has just left the bed, were later
covered by the semi-transparent blouse.
The roughness of the details and the realistic precision with which the horrific decapitation is rendered (correct down to the tiniest details of anatomy
and physiology) has led to the hypothesis that the painting was inspired by two highly publicized contemporary Roman executions; that of Giordano
Bruno and above all of Beatrice Cenci in 1599.
31. CARAVAGGIO
St Jerome
Just as Protestants wished to translate the Bible into local languages to make the Word of God accessible to ordinary believers, so Catholics were keen
to justify the use of the standard Latin version, made by St Jerome in the late fourth century.
Jerome had been baptized by one pope, had been given his task as translator by another and had called St Peter the first bishop of Rome. Among the
Latin Fathers of the Church he was a powerful ally against modern heretics, who attacked the cult of the saints, restricted the use of Latin to the learned
and viewed the papacy as the whore of Babylon.
It was wholly appropriate that this image was bought by Scipione Borghese soon after he was made a cardinal in 1605 by his uncle, the new Pope Paul V.
In pre-Reformation days Jerome was shown with a pet lion and a cardinal's hat. Now Catholic reformers wished to pare religious art down to its
essentials, and the good-living cardinal, whose ample features were to be sculpted and caricatured by Bernini, acquired a painting that was as austere as
it was sombre.
The thin old man, whose face is reminiscent of the model who had been Abraham, Matthew and one of the Apostles with Thomas, sits reflecting on a
codex of the Bible while his right hand is poised to write. Whereas in the Renaissance, Antonello da Messina and Dürer had made him into a wealthy
scholar, Caravaggio reduces Jerome's possessions to a minimum. The text he holds open, a second closed one and a third kept open by a skull are
perched on a small table.
Harsh lighting emphasizes the sinewy muscles of his tired arms and the parallel between his bony head and the skull - man is born to die, but the Word of
God lives forever.
32. CARAVAGGIO
Rest on Flight to Egypt
The story of the Holy Family's flight was one of the most popular apocryphal legends which survived the prohibitive decrees of the Council of Trent
and often appeared in painting from the end of the sixteenth century. Caravaggio's idyllic painting is an individualistic representation of this.
The artist ingeniously uses the figure of an angel playing the violin with his back to the viewer to divide the composition into two parts. On the right,
before an autumnal river-front scene, we can see the sleeping Mary with a dozing infant in her left; on the left, a seated Joseph holding the musical
score for the angel.
The natural surroundings reminds the viewer of the Giorgionesque landscapes of the Cinquecento masters of Northern Italian painting, and it is fully
imbued with a degree of nostalgia. Contrasting the unlikelihood of the event is the realistic effect of depiction, the accuracy of details, the trees, the
leaves and stones, whereby the total impression becomes astonishingly authentic.
The statue-like figure of the angel, with a white robe draped around him, is like a charmingly shaped musical motif, and it provides the basic tone for
the composition. It is an interesting contradiction - and at the same time a good example for the adaptability of forms - that this figure of pure classical
beauty is a direct descendant of Annibale Carracci's Luxuria from the painting "The Choice of Heracles".
It has not been clearly decided what was the textual source for the music-playing angel in the story of the flight into Egypt. Charming is Caravaggio's
decision to actively involve St Joseph in the music-making.
33. CARAVAGGIO, Michelangelo Merisi da
Caravaggio was a master Italian painter, father of the Baroque style, who led a tumultuous life that was cut
short his by his fighting and brawling.
As a child and art student, he trained in Milan under a teacher who had been taught by the great Italian
painter Titian himself, and who exposed him to the great works of Leonardo de Vinci and the Lombard
artists. He moved to Rome in 1592, after certain quarrels resulted in the wounding of a police officer. Rome
at the time was in a period if great expansion, and the many churches and palaces being built were all in
need of paintings to decorate the walls.
Caravaggio also moved to Rome during the Counter-Reformation, in which the Roman Catholic Church tried
to stem the rising tide of Protestantism, and was commissioning many works to elevate the social status of
the Church. He arrived in Rome starving and destitute, and immediately began working for Giuseppe Cesari,
the favorite painter of the Pope, and throughout the end of the 16th century his reputation as a great painter
grew.
His big break came in 1599, when he was commissioned to pain the Contarelli Chapel in Rome, which was
finished in 1600. after which he began receiving many commissions, both public and private. Some of his
works, being controversial in subject matter (his unacceptably vulgar realistic style) and models (one of his
favorite models for the Virgin Mary was a prostitute), and some of his works were returned to be painted over
or fixed. Others were returned entirely, but Caravaggio always had a public willing to snatch up any painting
he produced.
34. As a street brawler, his police records and court proceedings fill many pages. In 1606, he killed a
young man in a street fight and fled to Naples, where he was protected by the Colonna family. In
1608, he was arrested and put in jail for another brawl in Naples, but he managed to escape. In his
flight from the law, he traveled through Milan, Syracuse, Sicily, Palermo, Malta, and Messina,
continually receiving commissions.
He returned to Naples to live with the Colonna family and seek a pardon from the Pope, and in
1606, an assassination attempt was made of his life, leaving his face permanently disfigured. In
the summer of 1610, he took a boat from Naples to Rome, along with three paintings as an
offering of peace, seeking a pardon from the Pope. He never arrived at his destination, having
mysteriously died along the way. Although his artistic technique fathered the Baroque style, he
was quickly forgotten after his death. It was not until the 1920’s that his body of work began to be
fully received and appreciated.