~Lake Oswego Art Literacy~ Caravaggio 1571 – 1610 Italian Baroque Painter Sick Bacchus 1593, oil...

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Transcript of ~Lake Oswego Art Literacy~ Caravaggio 1571 – 1610 Italian Baroque Painter Sick Bacchus 1593, oil...

  • Slide 1
  • ~Lake Oswego Art Literacy~ Caravaggio 1571 1610 Italian Baroque Painter Sick Bacchus 1593, oil on canvas, 26 x 20-1/2, Galleria Borghese, Rome Italy
  • Slide 2
  • ~Lake Oswego Art Literacy~ Caravaggio 1571 1610 Italian Baroque Painter Boy with Basket of Fruit 1593-94, oil on canvas, 27-1/2 x 26-3/8, Galleria Borghese, Rome, Italy
  • Slide 3
  • ~Lake Oswego Art Literacy~ Caravaggio 1571 1610 Italian Baroque Painter Boy Bitten by a Lizard 1596-7, oil on canvas, 27-1/2 x 22-3/8, National Gallery, London, England
  • Slide 4
  • ~Lake Oswego Art Literacy~ Caravaggio 1571 1610 Italian Baroque Painter The Cardsharps 1594-5, oil on canvas, 39 x 54, Kimball Art Museum, Ft. Worth, Texas
  • Slide 5
  • ~Lake Oswego Art Literacy~ Caravaggio 1571 1610 Italian Baroque Painter Bacchus 1595-7, oil on canvas, 37-3/8 x 33-1/2, Uffizi Gallery, Florence, Italy
  • Slide 6
  • ~Lake Oswego Art Literacy~ Caravaggio 1571 1610 Italian Baroque Painter The Fortune Teller 1598-9, oil on canvas, 39 x 52-3/8, Muse du Louvre, Paris, France
  • Slide 7
  • ~Lake Oswego Art Literacy~ Caravaggio 1571 1610 Italian Baroque Painter Caravaggios Mature Period From 1597 onward, Caravaggio turned almost exclusively to religious subjects. He introduced violent gestures and physical movement to intensify the emotionalism of the spiritual event. In the foreground, radically foreshortened figures project out from the picture plane, compelling the viewer to become a participant. From 1600 until his death, most of his works exhibit the following characteristics: Dramatic light in a darkened setting causing sharp contrasts of light and dark, which heightened the drama and increased the feeling of three-dimensionality. The light source was often out of view on the left. Insistence on realism when depicting characters. They reacted to situations in realistic ways, suffering real emotions, even if they were saints. Not idealized. The scenes were suspended moments in time. He painted a brief break before the action continued to show the emotions in the characters faces and actions. The settings are minimal, with only a few details to convey the scene. The space is usually shallow and the figures are positioned in the foreground, often seeming to emerge out into the viewers space through foreshortening. Compositions were based on intertwining diagonal lines.
  • Slide 8
  • ~Lake Oswego Art Literacy~ Caravaggio 1571 1610 Italian Baroque Painter The Calling of St. Matthew 1599-1600, oil on canvas, 10 7-1/2 x 11 2, Contarelli Chapel, Church of San Luigi dei Francesi, Rome, Italy
  • Slide 9
  • ~Lake Oswego Art Literacy~ Caravaggio 1571 1610 Italian Baroque Painter The Martyrdom of St. Matthew 1599-1600, oil on canvas, 10 7-1/2 x 11 3, Contarelli Chapel, Church of San Luigi dei Francesi, Rome, Italy
  • Slide 10
  • ~Lake Oswego Art Literacy~ Caravaggio 1571 1610 Italian Baroque Painter The Conversion of St. Paul 1600-1, oil on canvas, 7 6-1/2 x 5 10, Cerasi Chapel, Church of Santa Maria del Popolo, Rome, Italy
  • Slide 11
  • ~Lake Oswego Art Literacy~ Caravaggio 1571 1610 Italian Baroque Painter Basket of Fruit ca. 1600-1, oil on canvas, 18-1/8 x 25-3/8, Pinacoteca Ambrosiana, Milan, Italy
  • Slide 12
  • ~Lake Oswego Art Literacy~ Caravaggio 1571 1610 Italian Baroque Painter Supper at Emmaus ca. 1600-01
  • Slide 13
  • ~Lake Oswego Art Literacy~ Caravaggio 1571 1610 Italian Baroque Painter The Entombment (The Deposition of Christ) 1604