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Caravaggio
High Renaissance
                             (1490-1527)


 Chiaroscuro: beginning with base tone toward
  lighter shades to show contrast




Portinari Alterpiece (c. 1475), Hugo van der Goes (Flemish), Galleria degli
                               Uffizi, Florence, Italy
High Renaissance
                    (1490-1527)


 Chiaroscuro: beginning with base tone toward
  lighter shades to show contrast




                                  Diogenes (c. 1524-1529;
                                    woodcut), Ugo da Carpi
                                            (Italian)
High Renaissance
                          (1490-1527)


 Chiaroscuro: beginning with base tone toward
  lighter shades to show contrast




     Hercules at the Crossroads (1640-1642), Giovanni Baglione
             (Italian), National Gallery of Slovenia, Ljubljana
Michelangelo Caravaggio
                        (1571-1610; Italian)



 Born into the earlier years of the Counter-Reformation, which led
  the Church to seek religious work to counter Protestantism
 Began his popular career with Martyrdom of St. Matthew
  (1600), having focused on male youths with sexual subtleties
  beforehand
 Died of a fever with a death warrant issued by the Church still in
  place after his murdering a young man in Rome
 Averaged 3-5 major paintings each year from 1592-1610
 Only rediscovered in the early 20th Century with many works
  contributed to his followers, the Caravaggisiti
 Credited as one of the influences bringing about techniques that
  ushered in the Baroque era of painting
Tenebrism

 tenebrism: dramatic chiaroscuro in which darkness
  dominates



                              Naturally occurring chiaroscuro
                              and tenebrism with Werner
                              X, created by the rims of
                              Purbach, La Caille, and
                              Blanchinus craters
Martyrdom of St. Matthew
                  (1599-1600)




Contarelli Chapel, San Luigi dei Fracesi, Rome, Italy
The Calling of St. Matthew
(1599-1600; La Vocazione di San Matteo)




 Contarelli Chapel, San Luigi dei Fracesi, Rome, Italy
The Crucifixion of Saint Peter
      (1601; Martirio de San Pietro)




 Cerasi Chapel, Santa Maria del Popolo, Rome, Italy
Judith Beheading Holofernes
                 (1598-1599)




   Galleria Nazionale d’Arte Antica, Rome, Italy
Saint Gerome
(1605-1606; San Gerolamo)




  Galleria Borghese, Rome, Italy
The Taking of Christ
                 (1602)




National Gallery of Ireland, Dublin, Ireland
The Conversion of St. Paul
                    (1607)




Cerasi Chapel, Santa Maria del Popolo, Rome, Italy
The Crowning with Thorns
               (1607)




    Kunsthistorische Museum, Vienna
Death of the Virgin
(circa 1601-1606; La Morte della Vergina)




            Borghese, Rome, Italy
Reclining John the Baptist
         (circa 1610)




        Private Collection
Caravaggisti




Judith and Her Maidservant with the Head of Holoferenes (c.
              1625); Artemisia Gentileschi (Italian)
Discussion Questions

 Is tenebrism truly different from chiaroscuro, or is it
  simply a more advanced use of the technique?
 How did the anatomy aspect of mannerism change
  with the onset of the Baroque style? Do you think
  this is related to the evolution of chiaroscuro and
  tenebrism?
 Does Caravaggio’s use of color interact with the
  impact of his use of lighting? Why or why not?
 How did the Caravaggisiti develop his technique
  further, or did they simply copy him?

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Caravaggio

  • 2. High Renaissance (1490-1527)  Chiaroscuro: beginning with base tone toward lighter shades to show contrast Portinari Alterpiece (c. 1475), Hugo van der Goes (Flemish), Galleria degli Uffizi, Florence, Italy
  • 3. High Renaissance (1490-1527)  Chiaroscuro: beginning with base tone toward lighter shades to show contrast Diogenes (c. 1524-1529; woodcut), Ugo da Carpi (Italian)
  • 4. High Renaissance (1490-1527)  Chiaroscuro: beginning with base tone toward lighter shades to show contrast Hercules at the Crossroads (1640-1642), Giovanni Baglione (Italian), National Gallery of Slovenia, Ljubljana
  • 5. Michelangelo Caravaggio (1571-1610; Italian)  Born into the earlier years of the Counter-Reformation, which led the Church to seek religious work to counter Protestantism  Began his popular career with Martyrdom of St. Matthew (1600), having focused on male youths with sexual subtleties beforehand  Died of a fever with a death warrant issued by the Church still in place after his murdering a young man in Rome  Averaged 3-5 major paintings each year from 1592-1610  Only rediscovered in the early 20th Century with many works contributed to his followers, the Caravaggisiti  Credited as one of the influences bringing about techniques that ushered in the Baroque era of painting
  • 6. Tenebrism  tenebrism: dramatic chiaroscuro in which darkness dominates Naturally occurring chiaroscuro and tenebrism with Werner X, created by the rims of Purbach, La Caille, and Blanchinus craters
  • 7. Martyrdom of St. Matthew (1599-1600) Contarelli Chapel, San Luigi dei Fracesi, Rome, Italy
  • 8. The Calling of St. Matthew (1599-1600; La Vocazione di San Matteo) Contarelli Chapel, San Luigi dei Fracesi, Rome, Italy
  • 9. The Crucifixion of Saint Peter (1601; Martirio de San Pietro) Cerasi Chapel, Santa Maria del Popolo, Rome, Italy
  • 10. Judith Beheading Holofernes (1598-1599) Galleria Nazionale d’Arte Antica, Rome, Italy
  • 11. Saint Gerome (1605-1606; San Gerolamo) Galleria Borghese, Rome, Italy
  • 12. The Taking of Christ (1602) National Gallery of Ireland, Dublin, Ireland
  • 13. The Conversion of St. Paul (1607) Cerasi Chapel, Santa Maria del Popolo, Rome, Italy
  • 14. The Crowning with Thorns (1607) Kunsthistorische Museum, Vienna
  • 15. Death of the Virgin (circa 1601-1606; La Morte della Vergina) Borghese, Rome, Italy
  • 16. Reclining John the Baptist (circa 1610) Private Collection
  • 17. Caravaggisti Judith and Her Maidservant with the Head of Holoferenes (c. 1625); Artemisia Gentileschi (Italian)
  • 18. Discussion Questions  Is tenebrism truly different from chiaroscuro, or is it simply a more advanced use of the technique?  How did the anatomy aspect of mannerism change with the onset of the Baroque style? Do you think this is related to the evolution of chiaroscuro and tenebrism?  Does Caravaggio’s use of color interact with the impact of his use of lighting? Why or why not?  How did the Caravaggisiti develop his technique further, or did they simply copy him?