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Michael Caravaggio Realism

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Michael Merisi (1571-1610) was also known as Caravaggio, he was named after his hometown in Lombardy. He was first known for his paintings of still life when he moved to Milan. The majority of his subjects were fortune-tellers, cardsharps and men that were glamorously dressed as musicians or mythological figures. Caravaggio was known for his realism and dramatic effects in his paintings. The realism he offered in paintings was not easily accepted. The Council of Trent wanted his art to be more natural, similar to the Renaissance style of painting. In Caravaggio’s “BACCHUS” 1595 – 1596, oil on canvas, 94 x 85.1 cm, currently located in the Galleria degli Uffizi, Florence is a perfect example of his realism. He painted exactly what he saw in every …show more content…

She was taught he techniques from her father, Orazio, who was one of Caravaggio’s earliest followers. Gentileschi most famous painting, “JUDITH BEHEADING HOLOFERNES” 1619-1620, oil on canvas, 1.99 x 1.63m located in the Galleria deglii Uffizi, Florence with Caravaggio’s, “BACCHUS”. With first sight of Gentileschi painting you will see Caravaggio’s style and technique of tenebrism and naturalism. Tenebrism in this particular painting is dramatic and pulls the viewer into the knife cutting the jugular of Holofernes as blood spurts from his neck. The blood soaked sheets and blood splatter is another example of realism that both artist share. Notice the strength Judith is using to hold him down by the wrinkles in her wrist and the grip of his hair in her hand. Holofernes eyes look directly at the viewer and you can see the pain in his face, while seeing the determination and focus on the face of Judith and her servant. Gentileschi is clearing using Caravaggio’s techniques with the realism in this painting. The emphasis on the gory details with dramatic lighting is true Caravaggio technique. Both artist use dramatic spotlighting to gain the viewers

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and was of Nicolao Arnolfini and his wife. There are several symbolic items included in the painting which give the viewer a different understanding. You can also see how meticulous Jan Van Eyck was with the detail. Both the man and woman have their shoes off and have cast them aside, indicating that the event taking place is on holy ground. Also, the single lit candle in the chandelier and the reflection and the mirror represent the all seeing eye of God.

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The use of the fresco technique when painting, usually produces a matte-like finish once it has dried, a trait that can be noted when analyzing Bondone’s painting, The Meeting of Joachim and Anna. On the other hand, Simone Martini’s painting, The Annunciation, shows the opposite finish of Bondone’s painting, because The Annunciation is considered to be very elegant, and includes a gold background, which enhances its brilliance. This is mainly because The Annunciation was painted in tempera and gold leaf on wooden panels, the opposite of a fresco painting. The use of tempera and gold leaf added immense sophistication and brilliance to Martini’s painting, something that Bondone’s painting was lacking. While Bondone’s painting has a matte finish which can be associated with the Florentine style of art, and Martini’s painting has more of an elegant finish,

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The portrait was painted on wood panel and in gothic like form. Nonetheless, this masterpiece is representation of time, the complexity of the painting and the

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It’s one of the most treasured paintings in the world. When compared to the Italian standards, the panel is said to be very minor, but its regard is extensively expressed with respect to many other paintings that are said to be, in the ancient times, the most regarded.

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From the painting I deduce that Judith might have killed Holofermes with the sword and that Maidservant is helping Judith hide the body. I can as well infer that Holofermes might have been Judith servant because of the white headscarves in his head similar to the Maidservant scarf. The faces of who I concluded to be Judith seems kind of angry and annoyed while the face of Maidservant seems worried. Even though there no visible blood in the sword I believe that 's the weapon that was used against Holofermes.

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His face, being twisted, shows that he most likely felt everything but was unable to protect himself. I strongly believe that the artist’s own trauma greatly influenced the way that she painted this piece. Artemisia Gentileschi was able to put the two women in the position of protectors, something she did not have at the time of her own rape. Artemisia Gentileschi once again related bible stories to her life and incorporated them into her paintings. In 1625, Artemisia Gentileschi painted “Judith and Her Maidservant with the Head of Holofernes” (1625) which shows Judith’s power over Holofernes.

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The first two paintings I chose are Caravaggio’s Judith of Holofernes and Gentileschi’s Judith Decapitating Holofernes because my first thought when seeing these was that these paintings are graphic and extremely uncommon. There is blood everywhere as women cut off a man’s head. That message right there is intense. Baroque style includes extreme realism. Both paintings are based on Catholic biblical stories.

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The Baroque piece of artwork, Woman Holding a Balance, is an oil painting by Vermeer and was painted in 1662-1665. This piece of artwork is a perfect example of portraying space and depth in a painting. The painting is very life like. A lot of work goes in to creating this type of illusion. When I looked more into this painting I was surprised to find out the type of technique that Vermeer used to create this painting.

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Charmagne McNewHUMN1101Final Research Project Part 316 April 2016Caravaggio’s Judith Beheading HolofernesThe Baroque time period is thought of as a period of artistic style that used alarge amount of motion and easily interpreted detail in order to create drama, tension,and other expressions in their pieces of art. The style began around 1600 in Rome,Italy, and spread to most of Europe.[1] Thanks to the Catholic Church, this time periodwas able to grow and played an enormous role in the artworks ability to that the artsability to speak to the viewer religiously and emotionally. Caravaggio is most famous forhis dark and twisted artwork. This particular piece is an oil canvas painted in 1598.

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Federico Barocci was known as “a pioneer artist for the Italian Baroque painting at the tail end of the Mannerist period”. He was known for his use of “syrupy sweet and poignantly pious religious paintings…”. It is said that Murillo’s paintings could be mistaken for Barocci’s painting, because Murillo painting also had a “sentimental softness”. Many of Murillo’s painting contained religious subject matters such as Adoration of the Shepherds, The Holy Family, The Immaculate Conception, and Madonna and Child (Bartolome Estaban

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Artemisia Gentileschi's depiction of “Judith slaying Holofernes” is my favorite over Caravaggio's “Judith beheading Holofernes” because of the absolute bloodletting portrayed in her own version. In my own opinion, Artemisia Gentileschi's “Judith slaying Holofernes” is the most powerful Baroque painting considering Gentileschi's dark past. Allow me to provide such back story of this woman, and her undeniable genius. Artemisia Gentileschi had been born July 8th, of 1593. She had been an accomplished Baroque painter, despite her being a female painter in the 1600's.

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The painting is so detailed that even the map across the wall is an accurate portrayal of the Low Countries. Baroque is characterized by such use of light and implementation of

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2965 Words | 12 Pages

Judith’s assassination of Holofernes is a tale that appears to have captivated a number of artists during the Renaissance and Baroque periods. The story originates from the Book of Judith of the Old Testament, and tells the story of the titular widowed heroine from the Jewish city of Bethulia, whose home was besieged by the Assyrian Army. In an effort to save her people and her home, Judith snuck into the enemy camp and managed to decapitate general Holofernes, who was infatuated with Judith and had passed out from drunkenness while in her company. A number of artists, including Donatello, Caravaggio, and Rembrandt, have used this story as a subject in their work.

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4) is another outstanding example of Raphael’s Roman portraits. At the centre of this harmonious composition Raphael adds a curious psychological note in the melancholy eyes that illuminate the cardinal’s pallid and exhausted countenance. The portrait has been drawn in accordance with Leonardo’s opinion that portraits can be drawn best with a dark background. A reference to dark backgrounds may remind the reader of Raphael’s Florentine period under the influence of Leonardo when he produced “Granduca Madonna” (fig. 5), the masterpiece where he was able to draw exquisite rhythmical modulations out of the motionless simplicity of the design. Giorgio Vasari noted that Raphael excelled in creating effects of drapery folds disappearing into shadows and coming forward into light, and that he knew how to relate the colours of drapery to the flesh tones so that semi-nude figures did not seem cut into two.

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Leonardo believed that, the integration of the musical harmonies would bring symbiosis to the optical space of the painting and to the one viewing the painting. Leonardo clearly understood how single point perspective could control how the viewer perceived his painting. He employed this technique to draw our attention to Christ’s face which is at the center of the composition. Likewise Christ’s gaze is directed to his left hand whereby he is reaching for the ‘bread’.

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