Length5h 11m
About this audiobook
After staying in Milan for his apprenticeship, Michelangelo da Caravaggio arrived in Rome in 1592. There he started to paint with both realism and psychological analysis of the sitters. Caravaggio was as temperamental in his painting as in his wild life. As he also responded to prestigious Church commissions, his dramatic style and his realism were seen as unacceptable. Chiaroscuro had existed well before he came on the scene, but it was Caravaggio who made the technique definitive, darkening the shadows and transfixing the subject in a blinding shaft of light. His influence was immense, firstly through those who were more or less directly his disciples. Famous during his lifetime, Caravaggio had a great influence upon Baroque art. The Genoese and Neapolitan Schools derived lessons from him, and the great movement of Spanish painting in the seventeenth century was connected with these schools. In the following generations the best endowed painters oscillated between the lessons of Caravaggio and the Carracci.
Audiobook details
GenreOther
Length5 hrs 11 mins
Narrated byListen with 1,000+ voices
FormateBook with Audio
Publish dateMay 8, 2012
LanguageEnglish
Table of contents
1caravaggio
2© The Metropolitan Museum of Art, p. 158, 161
3Introduction
4Biblioteca Marucelliana, Florence.
5intentions of their French Caravaggio, the master Valentin de Boulogne.13 Only
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6its significance.
7His Fate
8The Early Years and Departure for Rome
9Milan
10the observation of work by the Bergamasque painter Giovanni Cariani
11Boy with a Basket of Fruit (detail), c. 1593.
12Longhi Collection, Florence.
13Venice
14almost gigantic proportions, beyond the works of Torbido and Giorgione. The
15Caravaggio’s Venetian period, formerly in the La Motta Collection in the
16The Cardsharps, c. 1594.
17Kimbell Art Museum, Fort Worth.
18The Cardsharps (detail), c. 1594.
19The Fortune Teller (first version), c. 1595.
20Galleria degli Uffizi, Florence.
21Basket of Fruit, c. 1594-1598.
22Biblioteca Ambrosiana, Milan.
23isolated forerunners on this subject, notably a concert (from the fifteenth
24Oil on canvas, 133.5 x 166.5 cm.
25Galleria Doria Pamphilj, Rome.
26probably an eminent associate of the painter, possibly Cardinal Barberini, the
27Judith and Holofernes, 1597-1600.
28Many remarkable paintings date from this time, notably The Fortune Teller
29up by Manfredi and Strozzi in slightly lighter colours.
30from the conventional tendencies of his Roman teacher.
31that of the shepherd in the Galleria Doria Pamphilj, only more elegantly
32pictorial habits of his previous works towards the incredible. No painting
33Museum, Berlin.
34work, matters less than the strength of expression of the figures, which
35The Paintings of the Church of San Luigi dei Francesi
36Martha and Mary Magdalene, c. 1598.
37Galleria degli Uffizi, Florence.
38adolescent boy full of self-confidence and coquetry, Caravaggio’s depiction of
39the Borghese Gallery.
40National Gallery of Ireland, Dublin.
41chiaroscuro, livelier and more charming partially through the thick application
42Casino Boncompagni Ludovisi, Rome.
43certain freshness of invention.57
44understanding of an important moment in the Baroque.59 His reproach
45previous tendencies behind.
46According to Baglione, Caravaggio also painted The Incredulity of Saint Thomas
47punishment, or an aspiration to the beatitudes of a hypothetical paradise. Only
48shoulders with disreputable people and his reputation as a violent and
49Basilica Santa Maria in Loreto.
50this correctly, Bellori’s information of an original composition of the Emmaus
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