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Lecture 10

HISTART 2002 Lecture Notes - Lecture 10: Artemisia Gentileschi, Transubstantiation, Tintoretto

History of Art
Course Code
Shelton Andrew

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Lecture 9/26
Caravaggio, Calling of Saint Matthew
Called to join ministry of Christ
Pursue radical realist, naturalist agenda in religious works
All figures are dressed in contemporary attire as opposed to ancient
biblical attire
All have portrait-like specificity- all look like precise individuals
Doesn’t idealize human figures in work to make them more beautiful
Most sacred figure (Christ) even looks rugged
Dramatic lighting scheme
Tax collector “sees the light” to become follower of Christ  in direct light,
illuminated, more prominent than figure of Christ
Hand reaching like Michelangelo’s painting of Adam and Christ
Caravaggio, Crucifixion of Saint Peter
Saint peter requests to be crucified upside down because he didn’t
think he deserved to be crucified like Christ
“evil doers”- exaggerated furrowed brow, dark complexion
immediate foreground (closest to us) – dirty, wrinkled feet
Most think these details don’t belong in religious work
Caravaggio, Conversion of Saint Paul
Scruffy youth
Effects of physical environment are shown on body
Caravaggio shows details of dirt, sunburns, etc
Engaging in naturalistic style to enhance impacts on paintings
Trying to make scenes impactful by casting them along lines of reality
Brings sacred themes down to earth to make them more relatable,
accessible impactful  unlike other artists
Supposed to show examples of virtue to viewers
¾ of painting is backside of the horse—unthinkable thing to do at the
Paul knocked off horse-receiving warm divine light, allows rays to reach him- reveling in divinity
Spiritual conversion
Illusionistic in terms of technique  manipulates material
Naturalistic, realistic in terms of style  doesn’t generalize, idealize, or abstract
Carracci, Assumption of the Virgin
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