Introduction After the death of her husband in 1577, Caravaggio's mother, Lucia Aratori, raised Michelangelo and his three siblings with the help of her father. Caravaggio is thought to have received the basics of a formal education, but he appears to have had no interest in writing unlike, say, Leonardo da Vinci, who composed learned treatises, or Michelangelo Buonarroti, who left a body of written work that ranges from poems to grocery lists. Not a single letter, drawing or preparatory sketch by Caravaggio has ever been found. He wrote nothing about himself, certainly nothing about his childhood, and his adult life seems to have included no one who knew him as a boy. Discussion But evidently his eruptive anger was never directed at the influential aristocrats and ecclesiastical authorities who furthered his career. Heading toward the Tiber from the Campo Marzio, you can pass the Palazzo Madama, now the home of the Italian Senate, where Caravaggio lived for several years in the household of his first, most loyal and important patron, the Cardinal Francesco Maria Del Monte. An avid art collector, music lover and adviser to Ferdinando de' Medici, Del Monte bought two of Caravaggio's canvases, The Gypsy Fortune Teller and The Cardsharps, then supported him while he painted the dewily sensual, lush-lipped and seductive young men who populate such early masterpieces as The Musicians and The Lute Player(Robert, pp 473). As the Caravaggio pilgrim traces the artist's erratic path through the city where he led a sort of double life spanning low and high society, it soon becomes clear that even the intense drama of the artist's biography rather pales beside the vibrancy and high-wire theatrics of his paintings. The Church of Pio Mont... ... middle of paper ... ... the Conscious Reader, United States, (2006), pp 371-378 Janis, C; Seventeenth-Century Appraisals of Caravaggio’s Coloring in Artibus Histories vol.14 (2003), pp.103-129 Muller, M; Caravaggio’s Theory and Practice of the Imitation of Art, in The Art Bulletin, vol.64, (1982), pp. 229-24 Robert, W; Caravaggio: A source for a Painting from the Medici Cycle in the Art Bulletin vol.54, (2002) pp 473-477 Works Cited Ellison, R; On Becoming an Artist, the Conscious Reader, United States, (2006), pp 371-378 Janis, C; Seventeenth-Century Appraisals of Caravaggio’s Coloring in Artibus Histories vol.14 (2003), pp.103-129 Muller, M; Caravaggio’s Theory and Practice of the Imitation of Art, in The Art Bulletin, vol.64, (1982), pp. 229-24 Robert, W; Caravaggio: A source for a Painting from the Medici Cycle in the Art Bulletin vol.54, (2002) pp 473-477
Gregorio Dati, Diary, in Gene Brucker (ed), Two Memoirs of Renaissance Florence (Waveland Press, 1991) p. 107
"Gian Lorenzo Bernini: Bacchanal: A Faun Teased by Children" (1976.92) In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/works-of-art/1976.92. (October 2006)
Howard Hibbard's Caravaggio is an insightful look into the troubled mind and life of one of the most discussed artists of all time, Michelangelo Merisi da Caravaggio. Hibbard immediately expands on his belief that Caravaggio is the most important "Italian painter of the entire seventeenth century." Furthermore, his paintings "speak to us more personally and more poignantly than any others of the time." Caravaggio is an artist whose life was far different from all other contemporary artists of his time, or any time. Unlike Annibale Carracci, Caravaggio's works were able to express many of his own feelings and emotions. As Hibbard says, Caravaggio was an artist who "somehow cut through the artistic conventions of his time right down to the universal blood and bone of life." Simply put, Caravaggio was the only Italian painter who was able to utilize his own emotion as his guide instead of the historical artistic tradition. This observation by Hibbard feels somewhat misleading. Clearly, the emotion of Caravaggio's works came out in full explosiveness throughout his years of painting. However, his lifestyle was so troubling that it seems to me that it would have been virtually impossible for him to prevent his life from entering his works. While it should be recognized that Caravaggio's emotion and difficult life is reflected in many of his paintings, it should also be noted that this may have been unintentional and only a side effect of his life. Here is a many who frequently got into trouble with law and killed at least one man in his lifetime. He was arrested almost countless times. Therefore, it seems unfair to me for Hibbard to describe Caravaggio as an ...
Hartt, Frederick, and David G. Wilkins. History of Italian Renaissance art. 6th ed. of the book. Upper Saddle River, N.J.: Prentice Hall, 2006.
Brucker, Gene A. & Co. Renaissance Florence. Berkeley: University of California Press, 1969. Mandelbaum, Allen. A.
Turner, Jane. "Bellini, Giovanni." The Dictionary of Art. Vol. 3. New York: Grove, 1996. 657-68. Print. This book provided a wealth of knowledge and information regarding everything involving the artist Giovanni Bellini. The information was extremely detailed and was used in writing both the biography and analyses.
Lorenzo De Medici can be considered as one of the most influential men of the 13th century. His work in political affairs and administration were renowned in all Italy and his family could count on him in every aspect. Lorenzo was also a promoter of a new period called Renaissance. He was one of the first “mecenate” to explore this new way of art. In this project, I will concentrate how he developed art in Florence, giving a clear example through an Artist of that period that was working for him: Sandro Botticelli. His work “The Spring” is a well-defined example of what we can call “art in the Renaissance”, in particular for the Italian Renaissance.
Marandel, J. Patrice, Gianni Papi, and Amy Walsh. Caravaggio and His Legacy. Los Angeles: Prestel, 2012. Print.
2) Bailey, Gauvin A. Between Renaissance and Baroque: Jesuit art in Rome 1565-1610. University of Toronto Press. 2003.
Vasari, Giorgio. Life of Michelangelo. [Translated by Gaston du C. de Vere.] (New York: St. Pauls, 2003), pp. 69-132.
Turner, A. Richard. Renaissance Florence; The Intvention of a New Art. New York, NY`: Harry N. Abrams, Inc., 1997.
...brese’s St John was executed half a century after The Entombment, it is evident that Caravaggio heavily influenced its creation.
...laced on the style and materials presented in the painting. While evaluating and comparing various paintings the author feels that at the beginning of the Renaissance era the skill level of the artist was often not acknowledged whereas materials were, but at the end of the era, skill level played a larger factor in who was chosen to complete the artwork. Therefore, fresco painting, which emerged near the end of the period, changed this so called “deposit”, along with the relationship of the artist and the patron, allowing for the talent and skill of the artist to shine.
1. Ward, H. (2011). “The rising genius': Simeon Solomon’s unexplored interpretation of Alessandro Botticelli. British Art Journal, 12(3), 60.
Larmann, R., & Shields, M. (2011). Art of Renaissance and Baroque Europe (1400–1750). Gateways to Art (pp. 376-97). New York: W.W. Norton.