Caravaggio brief biography of albert

Like many a great artist, the for­tunes of Michelan­ge­lo Merisi da Car­avag­gio rose and fell dra­mat­i­cal­ly. After his death, pos­si­bly from syphilis or mur­der, his influ­ence spread across the con­ti­nent as fol­low­ers called Car­avaggisti took his extreme use of chiaroscuro abroad. He influ­enced Rubens, Rem­brandt, and Velázquez—indeed, the entire Baroque peri­od in Euro­pean art his­to­ry prob­a­bly would nev­er have hap­pened with­out him. “With the excep­tion of Michelan­ge­lo,” art his­to­ri­an Bernard Beren­son wrote, “no oth­er Ital­ian painter exer­cised so great an influ­ence.”

But lat­er crit­ics sav­aged his hyper-dra­mat­ic, high-con­trast real­ism. His style, called “tene­brism” for its use of deep dark­ness in paint­ings like The Call­ing of St. Matthew, is shock­ing by com­par­i­son with the fan­ci­ful Man­ner­ism that came before. In the video above, Evan Puschak, the Nerd­writer, explains what makes Caravaggio’s work so strange­ly hyper­re­al. He “pre­ferred to paint his sub­jects as the eye sees them,” the Car­avag­gio Foun­da­tion writes, “with all their nat­ur­al flaws and defects instead of as ide­al­ized cre­ations…. This shift from stan­dard prac­tice and the clas­si­cal ide­al­ism of Michelan­ge­lo was very con­tro­ver­sial at the time…. His real­ism was seen by some as unac­cept­ably vul­gar.”

Also con­tro­ver­sial was Car­avag­gio him­self. His wild life made an ide­al sub­ject for Derek Jarman’s art­house biopic star­ring Til­da Swin­ton. Famous for brawl­ing, “the tran­scripts of his police records and tri­al pro­ceed­ings fill sev­er­al pages.” He nev­er mar­ried or set­tled down and the male eroti­cism in his paint­ings has led many to sug­ges­tions he was gay .(Jarman’s film makes this an explic­it part of his biog­ra­phy.) It’s like­ly, art his­to­ri­ans think, that the painter had many tumul­tuous rela­tion­ships, sex­u­al and oth­er­wise, with both men

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Oil on canvas

FIAT LUX: Between Filippo and Caravaggio
– Published on the occasion of the exhibition at Willie Valentine Fine Art Singapore (12 – 30 November )
– Text by Enin Supriyanto

Light.
It is this natural phenomenon that all the time captivates human thoughts and perception. And it was light that eventually opened up the broadest realm for human apprehension of natural law. From Euclid, Ibn al-Haytam, Ibn Sina, and then Isaac Newton to Albert Einstein, all have been fascinated by light. Filled with flaming curiosities and buzzing ideas in mind, they attempted to understand and reveal the secret of light. It was this understanding of light that finally heralded the ultimate achievement of Physics, and subsequently opened up a new way for human being to understand the nature of various physical phenomena.

Nevertheless, no one could be so insightful in demonstrating the power of light as the determining aspect of representation—the depiction of many dramatic situations in human lives—if compared to what has been achieved by Michelangelo Merisi da Caravaggio (). He attained his capacity not through arduous exploration of the secret of natural law but as the results of his insight refined with sensitivity and strong desire to show the light—an electromagnetic radiation that animates the world in human eyes—as élan vital for various forms and stories presented in his paintings.

Caravaggio—that’s how he is well-known—is a scoundrel but talented painter. He grew up in Italy, during an era when the country ran into political turbulence. At the time, the Roman Empire desired to re-establish its supremacy, while the Catholic Church was trying to restore its authority already undermined by the Reformists. In the midst of uncertainty, Caravaggio had to cope with difficulties to become a great painter, when the superiority of Renaissance arts leaved no more than futile remnants of the past already paralysed by Mannerism. Inescapably, Caravaggio had to grow up in the midst of su

FEATURE Image: Caravaggio (Michelangelo Merisi), Judith Beheading Holofernes, c. , oil on canvas, 56 ¾ x 76 ¾” x cm Galleria Nazionale d&#;Arte Antica, Rome. &#; retrieved October 12,

INTRODUCTION.

The chalk portrait above is probably the most faithful likeness of Caravaggio. Born Michelangelo Merisi in , Caravaggio became an influential figure in Italian and European art in and well after his lifetime. He revolutionized painting by his theatrical use of light, dramatic narrative, and the naturalistic physical depiction of everyday people. His depiction of figures in historical narrative using dramatic interplay of light and shadow called chiaroscuro along with its naturalistic composition was further modernized in its scenes&#; inclusion of the emotional and psychological human state. These artistic qualities were admired and emulated by many young European artists going forward into the balance of the seventeenth century.

Caravaggio came to Rome around from Lombardy, where he was influenced by the works of Giovanni Girolamo Savoldo (c), Lorenzo Lotto (c. ), Romanino (c) and Moretto (c. ?). For a while he worked in the workshop of the leading late mannerist Giuseppe Cesari (), but soon broke away from the established course in Roman-Florentine artistic mannerism. His completely new approach of intense realism and chiaroscuro &#; that is, dramatic use of light and darkness to situate a scene &#; made him the &#;master of darkness&#; and completely revolutionized art in Rome around Along with Annibale Carracci (), Adam Elsheimer () and Peter Paul Rubens (), Michelangelo Merisi, called Caravaggio, was one of the progenitors of 17th century painting.

Artworks.

Caravaggio’s Il Fruttaiuolo (“Boy with a Basket of Fruit”) presents a remarkable contrast of the detailed, colorful, and sensuous depiction of fruits of the season and the refined and delicate innocence of an adolescent boy holding its basket. The placid scene of typical everyday l