Michelangelo da Caravaggio
By Félix Witting, M.L. Patrizi
Length4h 50m
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
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GenreOther
Length4 hrs 50 mins
Narrated byListen with 1,000+ voices
FormateBook with Audio
Publish dateJan 17, 2012
LanguageEnglish
Table of contents
1Michelangelo da Michelangelo da CARAVAGGIO CARAVAGGIO
2Introduction
3exquisite way”. Caravaggio’s patron, Marchese Vincenzio Giustiniani di Bassano (1564-
4HIS FATE
5Milan
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6grandiose. In certain of these Milanese works, the hand of Michelangelo Merisi’s
7exhortations of Gaudenzio Ferrari and his Milanese successor Bernardino Lanini that
8Venice
9Departure for Rome
10canvases for the Prior.
11vegetables. Beyond the prevalence of vegetables, Caravaggio’s contemporaries must
12expressions and feelings of his subjects.
13statuary art of the artist’s namesake, Michelangelo Buonarotti.
14successors in the National Gallery in London.
15Jerome, David and Goliath, The Fortune Teller, The Cardsharps, and Mary Magdalene
16Tooth Puller (p. 180) and in Judith Beheading Holofernes (pp. 34-35).
17Cardinal Barberini, the Cavalier Marino, or even Alof de Wignacourt, though we
18The First Roman Works and the Church of San Luigi dei Francesi
1929), Penitent Magdalene (p. 31) and Martha and Mary Magdalene (pp. 40-
20slightly lighter colours.
21of his Roman teacher.
22work, matters less than the strength of expression of the figures, which
23The Paintings of the Church of San Luigi dei Francesi
24characters46. This observation of the Romanesque element of the paintings
25With this understanding of the intentions of the Roman Baroque artists, Caravaggio
26balanced style of the Venetian master of the High Renaissance.
27despite its material slant, and due solely to these shimmering, profane and
28According to Baglione, Caravaggio also painted The Incredulity of Saint Thomas
29cease than a conjuration against a mysterious and perpetual punishment, or an
30fresco in the dome of the Basilica Santa Maria in Loreto.
31tools. The dexterity of the armour’s reproduction, reminiscent of The Conversion of
32Condemned to Exile
33Naples
34Ribera during his time in Naples.
35Child, thanks to his work on the shadows.
36resonates particularly strongly.
37Cabinet of the Reynst brothers.
38Domenico Fontana. In the same way, the impressive paintings of the Lombard
39Malta
40empty space into the whole concept compensates for the cruelty of the
41during the 17th century.
42with a rigorous and original composition, the painter signs this work “Fra
43The Face as the Reflection of the Soul
44and international representatives from the scientific and intellectual worlds and who
45feeling of movement.
46communicate to the viewer, like no other artist before him, the pictorial
47ground like the capital of some impressive building.
48THE BIRTH OF A STYLE
49The Painter of Pleasures and Taboos
50equally as important as that of Christ.
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