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Department
Art
Course
FAH230H1
Professor
Giancarla Periti
Semester
Fall

Description
12/3/2012 3:07:00 PM FAH 230 The new turn: Caravaggio and Artemisia Gentileschi Michelangelo Merisi – born in northern Italy in Caravaggio. 1592, 1593- talented and ambitious young artist decided to move to Rome with no patrons. Rome was an artistic center at the time; a place where he’d have opportunity with more patrons. Boy with a basket of fruit. 1593. Rome. Borghese Gallery Copy- imitation of realism; Realism of still life, fruits. Boy with make up, beautiful shoulders. Strong contrast between black hair and red lip. Background divided into zones – one dark one light. One of the earliest painting on this subject Proposed it again – Caravaggio. Boy bitten by a lizard. 1594 Florence, Longhi collection See the studio through water. Beautiful boy with erotic quality.- red lips, eyebrows. Volumes hair. Proposing something new: Imitating the cruel without idealization. Strategy- to shock the art market in 16 thcentury Rome and to get more patrons. Young, unknown, didn’t have his own niche. Had to invent a new genre, erotic/ homoerotic quality. Caravaggio. Bacchus. 1595-96. Oil on canvas. 94 x 85.1 cm. Florence, Uffizi. Viewers are asked to immediately participate in this painting; because of the glass of wine offered to the viewer, gesture. Dark color with flashy skin. He is proposing not only the shoulder, hand touching bone. Esthetic beauty in this work + size of work. Caravaggio. Cardsharps. Ca. 1594, Kimbell. Art Museum. Fort Worth. The beauty of this painting is really in the colors/ contrasting. Background has a dark/ light zone. Created by copying the models in front of him in his own studio. Sources say that he was getting street people/prostitute to model for him. New in artistic practice in Rome at the time Caravaggio. Musicians. Ca. 1595. New York. Metropolitan Museum Musicians vs Bacchus Similarities : boys dressed up in certain way- playing music. Contrast between light and darkness. Musicians are almost entering our own space. Contarelli Chapel. Sa Luigi dei Francesi. Patron: Matthew Contarelli. Caravaggio. Calling of St. Matthew. 1599-1600. 3.8x 3.4 m. oil on canvas. Rome. San Luigi dei Francesi Asked to paint stories of st. matthew, which was the patron of his chapel. He wanted his own patron to honor in a way. First public work. About the work: Christ is entering into this room. And his finger calling on matthew to follow him. The light comes from the right- light emphasizes Christ’s gesture; Lot of discussion about who is matthew. -For a long time it was perceived that matthew was the third left character. This figure is aware of Christ coming into the room and then calling on him. “pointing gesture saying me?” -Now other scholars are saying that he is pointing towards someone else, the one who is counting the money. -Carravaggio is painting the moment just before the revelation. What will follow is that Matthew will be called up. He will see Christ and decide to follow him. New reading of this painting gives new additional importance to the very temporality of this painting. -Christ’s feet are pointing the other side while face and gesture are facing matthew. Sign that Christ is just coming into the room. The light has perceived him illuminating the room. Caravaggio. Martyrdom of St. Matthew. 1599-1600. Oil on canvas. Rome. San Luigi Dei Francesi. The saint Is already on the ground, down, but the execution is already on his body. He is going to stab and kill the saint. Element of temporality. Scholars point out that Caravaggio is inscribed in this vary subject. Martyrdom of St. Matthew vs Calling of St Matthew. Lighting , scenes following. Caravaggio. Inspiration of St. Matthew. 2 version. 1502. Oil on canvas. Rome. San Luigi dei Francesi. 1 version destroyed. -because it seems as if St. matthew is illiterate to write. Bare feet directly showing at the priest, not appropriate for the area. Took into consideration for the second painting, responded the critiques by giving a totally different composition. Saint is turned on the other side, not directly showing his bare feet at the priest. The angel is on the top, and suggesting/inspiring the Saint. Private patrons were fine with erotic boys, but public work had to accord th with the religion of 17 century art. Caravaggio. The conversion of St. Paul. Ca. 1601. Rome. Church of Santa Maria del Popolo. Patron:Tiberio Cerasi. -Paul was riding his horse and suddenly Christ appears to him and asked him to follow him. These kind of subjects are completely illuminated because Christ has been sublimated into the light. On the ground, open arms, almost replicating the gesture of Christ cruxification. -The conversion has not yet happened and he cannot see, but the light has come and the very moment of the conversion is about to happen. The horse seems as if aware of what is going on because it raises its leg to not injure Paul on the ground. -Steps- he did not draw. He prepared canvas, did basic outlines with paint brush, then shaded dark areas and so on. -New in the 17 thcentury, and he received a lot of critiques. Caravaggio. Death of the Virgin. 1601-2. Paris, Louvre. (Originally painted for Laerio Cherubini for the church of Santa Maria della Scala Rome) By 1607 Rubens had persuaded the Duke of Mantua. Vincenzo Gonzaga to buy this painting. -Religious subject. The virgin is actually a dead body. The virgin had bare feet. Not appropriate for divine entity. -Rumors also flow that Caravaggio used a prostitute for the painting of the virgin. Too crowded the scene. -Religious and doctrinaire reas
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