Top Banner
Caravaggio How can we think about the frame of a painting? The frame of a painting represents the boundaries of the work of art—of the image. •With the development of intuitive perspective, the artist was able to present a narrative that seemed realistic. Actors in the scene seemed to occupy a legitimate space that had depth. •Linear perspective allowed artists to present the world of the painting as if the frame of the painting delineated a glass pane through which the viewer peered. •But what next? How could the artist claim the attention of the viewer—especially in a socio- historical context in which the word—and not the image —was becomingly increasingly important (see the Reformation and Martin Luther: the beginning circa 1517 when Luther published The Ninety-Nine Theses.) During the Baroque period, artists like Caravaggio began to open up the frame of the painting and construct an immediacy with their lighting and
15

Caravaggio How can we think about the frame of a painting? The frame of a painting represents the boundaries of the work of art— of the image. With the.

Dec 13, 2015

Download

Documents

Julianna Wilcox
Welcome message from author
This document is posted to help you gain knowledge. Please leave a comment to let me know what you think about it! Share it to your friends and learn new things together.
Transcript
Page 1: Caravaggio How can we think about the frame of a painting? The frame of a painting represents the boundaries of the work of art— of the image. With the.

Caravaggio How can we think about the frame of a painting?The frame of a painting represents the boundaries of the work of art—of the image.

•With the development of intuitive perspective, the artist was able to present a narrative that seemed realistic. Actors in the scene seemed to occupy a legitimate space that had depth.•Linear perspective allowed artists to present the world of the painting as if the frame of the painting delineated a glass pane through which the viewer peered.•But what next? How could the artist claim the attention of the viewer—especially in a socio-historical context in which the word—and not the image—was becomingly increasingly important (see the Reformation and Martin Luther: the beginning circa 1517 when Luther published The Ninety-Nine Theses.)

During the Baroque period, artists like Caravaggio began to open up the frame of the painting and construct an immediacy with their lighting and composition that challenges the viewer—that draws the viewer into the drama of the scene through the dramatic use of light and/or composition.

Page 2: Caravaggio How can we think about the frame of a painting? The frame of a painting represents the boundaries of the work of art— of the image. With the.

Caravaggio Michelangelo Merisi left his birth town of Caravaggio in the north of Italy to study as an apprentice in nearby Milan. In 1593 he moved to Rome, impatient to use his talents on the biggest stage possible. Caravaggio's approach to painting was unconventional. He avoided the standard method of making copies of old sculptures and instead took the more direct approach of painting directly onto canvas without drawing first. He also used people from the street as his models. His dramatic painting was enhanced with intense and theatrical lighting. Caravaggio's fate was sealed when in 1606 he killed a man in a duel. He fled to Naples where he attempted to paint his way out of trouble, he became a Knight, but was then imprisoned in Malta and then finally he moved to Sicily. He was pardoned for murder in 1610, but he died of a fever attempting to return to Rome.

Page 3: Caravaggio How can we think about the frame of a painting? The frame of a painting represents the boundaries of the work of art— of the image. With the.

Sick BacchusCaravaggio1593oil on canvas

This early work breaks all the rules.Who is Bacchus?

Page 4: Caravaggio How can we think about the frame of a painting? The frame of a painting represents the boundaries of the work of art— of the image. With the.

Boy Bitten by a LizardCaravaggio1594oil on canvas

This early work is a demonstration of virtuosity.What is Caravaggio proving that he can “do” as a painter?What do you notice?

Page 5: Caravaggio How can we think about the frame of a painting? The frame of a painting represents the boundaries of the work of art— of the image. With the.

DavidCaravaggio1609-10oil on canvas

The head of Goliath is a self-portrait of Caravaggio.

Page 6: Caravaggio How can we think about the frame of a painting? The frame of a painting represents the boundaries of the work of art— of the image. With the.

The Calling of St. MatthewCaravaggio1599-1600oil on canvasContarelli Chapel, San Luigi dei Francesi, Rome

http://www.youtube.com/watch?v=SZF5K8epWko&list=PLB56EEA2DAB1F1CD6&edufilter=-UYcvQGRLktRabtXL3Eq1w

Page 7: Caravaggio How can we think about the frame of a painting? The frame of a painting represents the boundaries of the work of art— of the image. With the.

detail: The Calling of St. MatthewCaravaggio1599-1600oil on canvas

What is Matthew asking?

Page 8: Caravaggio How can we think about the frame of a painting? The frame of a painting represents the boundaries of the work of art— of the image. With the.

detail: The Calling of St. MatthewWhat famous painter is Caravaggio imitating with Christ’s gesture?

Page 9: Caravaggio How can we think about the frame of a painting? The frame of a painting represents the boundaries of the work of art— of the image. With the.

detail: The Calling of St. MatthewCaravaggio1599-1600oil on canvas

Page 10: Caravaggio How can we think about the frame of a painting? The frame of a painting represents the boundaries of the work of art— of the image. With the.

detail: The Calling of St. MatthewCaravaggio1599-1600oil on canvas

Page 11: Caravaggio How can we think about the frame of a painting? The frame of a painting represents the boundaries of the work of art— of the image. With the.

detail: The Calling of St. MatthewCaravaggio1599-1600oil on canvas

Page 12: Caravaggio How can we think about the frame of a painting? The frame of a painting represents the boundaries of the work of art— of the image. With the.
Page 13: Caravaggio How can we think about the frame of a painting? The frame of a painting represents the boundaries of the work of art— of the image. With the.
Page 14: Caravaggio How can we think about the frame of a painting? The frame of a painting represents the boundaries of the work of art— of the image. With the.
Page 15: Caravaggio How can we think about the frame of a painting? The frame of a painting represents the boundaries of the work of art— of the image. With the.