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.
 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.
Sick Bacchus
Caravaggio
1593
oil on canvas

This early work breaks all

the rules.
Who is Bacchus?
Boy Bitten by a Lizard
Caravaggio
1594
oil 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?
David
Caravaggio
1609-10
oil on canvas
The head of Goliath is a self-
portrait of Caravaggio.

Simon Schama argues that “in

Caravaggio's time it was believed that
artists were given their talent by God to
bring beauty to the world and to put
mortal creatures in touch with their
higher selves or souls. Caravaggio never
did anything the way it was supposed to
be done.

In this painting of the victory of virtue

over evil it's supposed to be David who is
the centre of attention, but have you ever
seen a less jubilant victory? On his
sword is inscribed "Humilitus Occideit
Superbium", that is, humility conquers
pride. This is the battle that has been
fought out inside Caravaggio's head
between the two sides of the painter that
are portrayed here.
The Calling of St.
Matthew
Caravaggio
1599-1600
oil on canvas
Contarelli Chapel,
San Luigi dei
Francesi, Rome

http://www.youtube.com/watch?v=SZF5K8e
pWko&list=PLB56EEA2DAB1F1CD6&edufilt
er=-UYcvQGRLktRabtXL3Eq1w
detail:
The Calling of St. Matthew
Caravaggio
1599-1600
oil on canvas
What is Matthew asking?
 detail: The Calling of St. Matthew
What famous painter is Caravaggio imitating with Christ’s gesture?
detail:
The Calling of St. Matthew
Caravaggio
1599-1600
oil on canvas
detail:
The Calling of St. Matthew
Caravaggio
1599-1600
oil on canvas
detail:
The Calling of St. Matthew
Caravaggio
1599-1600
oil on canvas
The Sacrifice of Isaac Caravaggio 1601-02
The Incredulity of Saint Thomas Caravaggio 1601-02
Caravaggio Taking of Christ c. 1602
The Conversion of St. Paul or
The Conversion of the Way to
Damascus
Caravaggio
1600
oil on canvas
Artemisia Gentileschi
Self-Portrait as the Allegory of
Painting
1630s
oil on canvas