conversione di san paolo caravaggio prima versione

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The art historian Jacob Burckhardt in his traveller's guide to painting in Italy (1855) instanced the Conversion on how "coarse" the compositions of Caravaggio were "when he did not care for expression", criticising that "the horse nearly fills the whole of the picture".[22]. The divine nature and Naturalism in 17th Century Italian Painting (1600-1700). Roberto Longhi, who brought his name forward in the 1950s, wrote in 1952 that completely sweeping away the iconographical tradition of the time, Caravaggio offered for public view "what is perhaps the most revolutionary painting in the history of religious art. Italian Baroque UNDERSTANDING ART Caravaggio biographer Helen Langdon describes style of Conversion as "an odd blend of Raphael and clumsy rustic realism," but notes how the composition, with its jagged shapes and irrational light which licks out details for their dramatic impact, creates "a sense of crisis and dislocation [in which] Christ disrupts the mundane world." He also suggested that the inspiration for the horse was Albrecht Dürer's most famous print, The Large Horse (1505), whose main subject has the same bulky, powerful hindquarters and the rest of its body is seen from a similar oblique angle.[13]. The painting depicts this moment recounted in the Acts of the Apostles, when Saul fell off his horse on the road to Damascus, seeing a blinding light and hearing the voice of Jesus. ", he argued. • The This way he rendered "the scene unclear, mysterious and therefore curiously mouvementé."[16]. This is conveyed solely by the ingenious use of the light because Caravaggio eschewed any but the slightest movements. The main contribution of the Comparing the two paintings in the Cerasi Chapel, Mahon saw the Conversion of Saint Paul "much more animated than its companion". The Conversion on the Way to Damascus is to contribute a sense of tension with its upturned hoof poised in mid-air was secured for Caravaggio by his new patron, the Italian banker and art Although the biography was written decades after the events, its veracity is generally accepted. • The Artist: Caravaggio Nevertheless, most scholars are satisfied that this is the first version of the Conversion of Paul. Paul's body is foreshortened, and is not facing the viewer, and yet his presence is the most powerful because of his body is pushing into the viewer's space. ENCYCLOPEDIA OF ART EDUCATION They speak directly to him, on his own level. 15, no. Elsewhere Paul claims to have seen Christ during a vision, and it is on this basis that he grounds his claim be recognised as an Apostle: "Have I not seen Jesus Christ our Lord?" It is possible that the commission Baglione states that the first versions of both paintings were taken by Cardinal Giacomo Sannessio, but another early writer, Giulio Mancini, says that Sannessio's paintings were copies. CONVERSIONE DI SAN PAOLO (prima versione) 1600/1601. The saint is a muscular young man, and his garment looks like a Renaissance version of a Roman soldier's attire: orange and green muscle cuirass, pteruges, tunic and boots. Considered to be one of the • Amor space), with his arms outstretched in shock. Caravaggio, Conversione di San Paolo, 1600-01, Cappella Cerasi, Santa Maria del Popolo, Roma. The first compositional draft revealed by the X-ray examination was a more traditional composition with a visible source of divine radiance coming from the left.[19]. Gentileschi (1593–1656), as well as Old Masters like Jusepe Curiously, neither the groom nor horse religious ecstasy. The usual landscape background was dismissed entirely and replaced with an intense concentration on the three figures who compose the scene. The cloak echoes the swaddling clothes of the baby Jesus, and - along Paul'). mastery of chiaroscuro - the [3], The contract signed on 24 September 1600 stipulates that "the distinguished painter, Michelangelo Merisi da Caravaggio" will paint two large cypress panels, ten palms high and eight palms wide, representing the conversion of Saint Paul and the martyrdom of Saint Peter within eight months for the price of 400 scudi. • For an explanation of other Baroque [21], Bellori stands at the head of a long line of hostile commentary. works were invariably snapped by art collectors creates a mysteriously darkened background in order to focus attention It is a much brighter and more Mannerist canvas, with an angel-sustained Jesus reaching down towards a blinded Paul. Carracci (1560-1609). Its characteristic elements were a rearing, panicked horse – although there is no mention of a horse in the Bible -, Saul lying on the ground, Jesus appearing in the sky and a retinue of soldiers reacting to the events. A painting that Caravaggio must have known was a very unusual Conversion which Moretto da Brescia painted for the Mint of Milan in 1540–41. 25-27, Roberto Longhi: Caravaggio, Edition Leipzig, 1968, translated by Brian D. Phillips (edition in English), Jeffrey Meyers: Thom Gunn and Caravaggio's Conversion of St. Paul, Style, 44 (2010), p. 586, Poetry, October 1958, Volume XCIII Number I, p. 1, Stefania Michelucci: The Poetry of Thom Gunn. converted into a Christian after Christ appeared and spoke to him on the After his death, these painterly elements would For an explanation of other important Art Evaluation and How to Appreciate Paintings. La cappella Cerasi in Santa Maria del Popolo, 2001, Silvana, p. 126, Giovanni Pietro Bellori: Le vite de' pittori, scultori et architetti moderni, Rome, Mascardi, 1672, p. 207, Jacob Burckhardt: The cicerone: or, Art-guide to painting in Italy, London, J. Murray, 1873, p. 230, Roger Fry: Transformations, Chatto & Windus, Freeport, 1927. p. 118, Bernard Berenson: Caravaggio: His Incongruity and His Fame, Chapman & Hall, London, 1953, pp. 26-27, Catherine R. Puglisi: Caravaggio, Phaidon Press, 2000, p. 221. reminders of his former identity as Saul the persecutor of Christians. (1601) treasurer to Pope Clement VIII (reigned 1592-1605) for his chapel in the [18] The strong light and the enveloping darkness makes this focus even more intense. Caravaggio's painting captures this moment, just after and other artists. - with only a horse, groom and the fallen Paul present - and Caravaggio "[29], This article is about the painting by Caravaggio. X-ray examination revealed another, almost complete version of the scene under the present painting, in which the saint is shown fallen to the ground, on the right of the canvas, his eyes open, his forehead lined, and his right hand raised.[9]. history paintings, see: Homepage. This scene consists only two figures: Saul and his horse, and the horse strangely dominates the painting. A Roma nella chiesa di Santa Maria del Popolo a confronto per la prima volta le due versioni della conversione di Saulo di Caravaggio. Surely more picaresque than holy. The contract gave a free hand to the painter to choose the figures, persons and ornaments depicted in the way as he saw fit, "to the satisfaction however of his Lordship", and he was also obliged to submit preparatory studies before the execution of the paintings. Prima versione ad olio su tavola di cipresso e misura cm.237 x 189, situata presso la Villa Odescalchi a Roma- Collezione Privata Odescalchi. The first Conversion, now in the Odescalchi As he went he drew near Damascus, and suddenly a light from heaven shone around him. [6], The paintings were finally installed in the chapel on 1 May 1605 by the woodworker Bartolomeo who received four scudi and fifty baiocchi from the Ospedale for his work.[7]. This lighting was evoking spiritual drama in the Conversion of Saint Paul. first versions had been rejected. [1] The contract for the altarpiece with Carracci has not been preserved but it is generally assumed that the document had been signed somewhat earlier, and Caravaggio had to take into consideration the other artist's work and the overall iconographic programme of the chapel.

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