(1998)‚ pp. 451-477. Gilbert‚ C. "What Did The Renaissance Patron Buy?" (1998)‚ pp. 392-450. Hibbard‚ H. Bernini. (Penguin: London‚ UK‚ 1990). Hollingsworth‚ M. Patronage in Renaissance Italy (John Murray Publishers: London. UK‚ 1994). Langdon‚ H. Caravaggio: A Life. (Pimlico: London‚ UK‚ 1998) Maguire‚ Y Seymour‚ C. The Sistine Chapel Ceiling. (WW Norton and Co. Inc.‚ New York‚ USA‚1972). Schapiro‚ M. Theory and Philosophy of Art (George Braziller: New York‚ USA‚ 1994). Vasari‚ G. The Lives of the
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PAINTING – CLELIA FARNESE Jacopo Zucchi was an assistant to Giorgio Vasari‚ whose style he initially copied. In Rome‚ the light-dark painting of Caravaggio impressed him‚ while compositional solutions can in part be traced to Bartholomeus Spranger‚ who was resident in Rome. This painting is an example of the Flemish-influenced style of portraiture of the second half of the sixteenth century that was dubbed the "international court style". Formerly given to Pulzone‚ the painting was attributed
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Death of the Virgin Caravaggio 1605-1606. 12’ 1 ½” x 8’. Oil on canvas For Sanata Maria della Scala‚ Trastevere‚ Rome. Now in Louvre‚ Paris In 1605‚ Laerzio Cherubini commissioned Caravaggio to paint an altarpiece for his family’s chapel in the church of Santa Maria della Scala in Trastevere‚ Rome. The chapel was dedicated to the Transit of the Virgin. There was a particular decorum for the depiction of such a scene: the Virgin giving a pious gesture‚ some sort of ascension of Her soul‚ and
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The Italian Lira is a fairly new currency with roots that lie deep within Italian culture. The word "lira" is actually derived from the Latin word "libra"‚ meaning pound‚ making it a distant cousin to that of the British pound sterling. The lira was a monetary unit long before it existed as a coin or note. The lira made its first appearance in the hands of bankers‚ merchants and consumers in Venice in 1472‚ put in place by Doge Nicolas Tron. The Venice lira set a trend for large silver coins with
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The similarity between the Caravaggio‚ The Entombment of Christ and Peter Paul Rubens‚ The Raising of the Cross are their dramatic movement and the lighting. When looking at both paintings‚ the body of Christ seems to be the focal point. As of the Entombment of Christ‚ in his background‚ there is nothing but darkness‚ and the light was shine on him‚ making him popping out from space. This concept is the same as The Raising of the Cross. As for the dramatic look‚ on both paintings‚ each character
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be dramatic. Baroque took place from around the 1600s-1750. During this time the Catholic Church was in response to the Protestant Reformation and they wanted the art to communicate a religious theme. One key artist of the Baroque period style is Caravaggio. One of his greatest works was Entombment. The Entombment is a great example of a baroque painting because of the emotion in the painting and the emotion it puts in those who see it. The first is that it is a very dramatic piece of art as it shows
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17th and 18th centuries that followed mannerism and is characterized by ornate detail. In architecture the period is exemplified by the palace of Versailles and by the work of Bernini in Italy. Major composers include Vivaldi‚ Bach‚ and Handel; Caravaggio and Rubens are important baroque artists.” (Bing Dictionary)
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often used in paintings of dimly lit scenes to produce a very high-contrast‚ dramatic atmosphere. The chiaroscuro technique is best visible in the painting "The Massacre of the Innocents" by Peter Paul Rubens Other famous Baroque painters include Caravaggio and Rembrandt. In the Baroque style of architecture‚ emphasis was placed on bold spaces‚ domes‚ and large masses as seen in the Royal Palace at Versailles‚ Trevi Fountain in Rome‚ Salzburg Cathedral and Mirabell Palace in Salzburg. In music‚
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we had previously discussed similar works in class‚ this particular scene was very interesting to me. The painting itself with its dark dramatic lighting‚ earthly tones and realistic characters‚ is strikingly similar to the same scene paint by Caravaggio. The two paintings almost scream for a comparison. The expression of Vignon’s David seems to be one of intense contemplation. As if David is in deep thought and/or shock over the event that had just occurred. David’s facial expression gives the
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The Baroque era represented a time of significant emotional and religious conflict due to the Counter-reformation and the attempt by the Catholic Church to regain its membership. Art became a mechanism for the church to reach out to and connect with the masses‚ and Baroque art began to explore emotional themes that were shied away from during the Renaissance. In particular‚ Flanders was a region that sought to emulate the emotional quality of Italian baroque using a unique style and innovative techniques
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