Month: July 2023

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Five of Caravaggio’s Largest Artworks

Caravaggio was a prolific artist, but he didn’t create many large-scale works. His style was often characterized by intimate and intense compositions, focusing on dramatic scenes with a limited number of figures. However, there are a few artworks that can be considered relatively larger compared to his usual works. Here are five of the largest artworks by Caravaggio:

“The Entombment of Christ” (1602-1604): Size: Approximately 300 cm × 203 cm (9 ft 10 in × 6 ft 8 in) Location: Vatican Museums, Vatican City Description: This painting depicts the moment after the crucifixion of Jesus Christ when his body is being placed in the tomb. It is one of Caravaggio’s most emotionally charged works, featuring a group of figures mourning the death of Christ.

“The Taking of Christ” (1602): Size: Approximately 133.5 cm × 169.5 cm (52.6 in × 66.7 in) Location: National Gallery of Ireland, Dublin Description: Also known as “The Arrest of Christ,” this painting portrays the dramatic scene of Judas betraying Jesus with a kiss, leading to his arrest. The use of light and shadow in this artwork is typical of Caravaggio’s style.

“The Death of the Virgin” (1606): Size: Approximately 369 cm × 245 cm (12 ft 1 in × 8 ft) Location: Louvre Museum, Paris, France Description: This large-scale painting depicts the death of the Virgin Mary, surrounded by the apostles. Caravaggio’s realistic portrayal of the lifeless body of Mary and the emotional reactions of the apostles caused some controversy at the time.

“The Calling of Saint Matthew” (1599-1600): Size: Approximately 322 cm × 340 cm (10 ft 7 in × 11 ft 2 in) Location: Contarelli Chapel, San Luigi dei Francesi, Rome, Italy Description: This monumental altarpiece illustrates the moment when Jesus calls Matthew, the tax collector, to become his disciple. The use of light to draw attention to the figures is one of Caravaggio’s signature techniques.

“The Crucifixion of Saint Peter” (1600-1601): Size: Approximately 230 cm × 175 cm (7 ft 6.5 in × 5 ft 9 in) Location: Cerasi Chapel, Santa Maria del Popolo, Rome, Italy Description: Caravaggio painted this intense and emotional portrayal of the crucifixion of Saint Peter, depicting the saint’s inverted crucifixion at his request as he felt unworthy to die in the same manner as Jesus.

Please note that while these are among the larger artworks by Caravaggio, they are still relatively smaller compared to some other grand-scale paintings from different artists and time periods. Caravaggio’s genius primarily lay in his ability to create emotionally charged and innovative works on a more intimate scale.

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Death of Caravaggio

As of my last update in September 2021, there were no recent reports or credible information about the death of someone named “Zcaravaggio.” It’s important to note that information may have changed since my last update, or there might be a confusion with the name or event you are referring to.

If you have more specific details or context about the individual or event you are asking about, please provide them, and I’ll do my best to assist you with the information available up until my last update.

The Martyrdom of Saint Ursula, the last documented painting by the great Caravaggio (1571–1610)

Michelangelo Merisi da Caravaggio, commonly known as Caravaggio, was a renowned Italian painter of the late 16th and early 17th centuries. His life and death were marked by both artistic brilliance and personal turmoil.

Date of Birth: September 29, 1571 (Exact birthdate not confirmed, but widely believed to be around this time).

Date of Death: July 18, 1610

Location of Death: Porto Ercole, Tuscany, Italy

Caravaggio died at the age of 38 in Porto Ercole, a coastal town in Tuscany. The circumstances surrounding his death remain somewhat mysterious. It is believed that he was on the run from justice after committing a murder in Rome, which led him to seek refuge in various locations in Italy.

Caravaggio’s artistic legacy continued to thrive after his death, and his innovative use of chiaroscuro (the dramatic use of light and shadow) had a profound influence on later artists. However, it wasn’t until the 20th century that his work gained widespread recognition and acclaim, solidifying his place as one of the most influential painters in art history.

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Tintoretto’s Impact on Venetian Art

The Supper at Emmaus (1542 or 1543)

One of the defining characteristics of Venetian art was its emphasis on color and light. Venetian painters were known for their vibrant and richly saturated palettes, and Tintoretto was no exception. His use of color was dramatic and expressive, capturing the play of light and shadow with great intensity. This allowed him to create dynamic compositions and evoke a strong emotional response from the viewer.

Tintoretto’s approach to composition was also notable. He often employed unconventional perspectives and dramatic foreshortening, which added a sense of movement and energy to his paintings. His compositions were carefully designed to guide the viewer’s eye through the scene, leading to a heightened sense of drama and tension.

Marriage at Cana (1561), Santa Maria della Salute

Another aspect of Venetian art that Tintoretto embraced was the use of large-scale works. Venetian painters often created monumental canvases that were intended to decorate public spaces, such as churches and palaces. Tintoretto was commissioned to paint numerous religious works for Venetian churches, and he demonstrated a mastery of scale and grandeur in these monumental compositions. His ability to fill vast spaces with dynamic figures and intricate details showcased his technical skill and artistic vision.

Furthermore, Tintoretto was known for his rapid and energetic brushwork. He worked quickly and spontaneously, employing loose brushstrokes and bold textures. This technique added a sense of vitality and immediacy to his paintings, capturing the essence of his subjects with a raw and visceral quality.

Tintoretto’s contributions to Venetian art extended beyond his technical skill and innovative style. He also played a significant role in the development of the Venetian art community. He established his own workshop, where he trained numerous artists who would go on to become influential painters in their own right. His workshop became a hub of artistic activity, fostering the exchange of ideas and techniques among Venetian artists.

The Scuola Grande di San Rocco is the site of Tintoretto’s most celebrated cycle of paintings – dating to 1577.

In conclusion, Tintoretto’s impact on Venetian art was profound. His use of color, dynamic compositions, and large-scale works exemplified the characteristics of Venetian painting during the Renaissance. His innovative techniques and artistic vision continue to inspire and influence artists to this day, making him a key figure in the rich history of Venetian art.

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Twentieth Century Minimalist Art

The 1960s witnessed a significant shift in the art world, with the emergence of minimalist art as a prominent movement. Minimalism in art rejected the idea of art as a representation of the external world and sought to reduce art to its most essential and basic forms. It emphasized simplicity, precision, and objectivity, often stripping away any extraneous elements.

One of the key characteristics of minimalist artworks from the 1960s was their emphasis on geometric shapes and forms. Artists explored basic geometric shapes such as squares, circles, lines, and rectangles, often repeating them in series or grids. This approach aimed to eliminate any personal expression or subjective interpretation and instead focused on the inherent qualities of the materials and forms themselves.

A red stack by Donald Judd, “Untitled (Bernstein 78-69)” (1978), at Mnuchin Gallery.

Another influential minimalist artist of the era was Dan Flavin. Flavin worked primarily with fluorescent light tubes, creating installations that explored the relationship between light, space, and the viewer. His works consisted of simple arrangements of fluorescent lights in various configurations, transforming the gallery space into an immersive experience of colored light.

Dan Flavin, the diagonal of May 25, 1963 (to Constantin Brancusi), 1963. 

Agnes Martin, although not strictly categorized as a minimalist, produced minimalist-inspired artworks in the 1960s. Her paintings consisted of grids and repeated lines, often executed with a meticulous attention to detail. Martin’s works aimed to evoke a sense of calm, tranquility, and spiritual contemplation through their minimalistic compositions.

Untitled, 1960 ink on paper MoMA not on show

Minimalist artworks of the 1960s were characterized by their emphasis on objectivity, precision, and reduction. Artists sought to eliminate personal expression and narrative, focusing instead on the purity of form, color, and space. By stripping away excess and simplifying their artworks, minimalists aimed to create a direct and immediate experience for the viewer, challenging traditional notions of art and perception.

Overall, the minimalist artworks of the 1960s played a significant role in redefining the boundaries of art, emphasizing the importance of simplicity, objectivity, and the intrinsic qualities of materials and forms. Their impact can still be seen in contemporary art, where minimalistic approaches continue to influence and inspire artists to this day.

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Ten of the best St George and the Dragon artworks around the world

Ten notable artworks depicting the theme of “St. George and the Dragon,” along with their respective locations*:

“St. George and the Dragon” by Raphael (1503-1505) – This famous representation is housed at the Louvre Paris. Oil on wood.

“St. George and the Dragon” by Paolo Uccello (1470) – This artwork can be found in the National Gallery in London, United Kingdom. Oil on canvas.

Gustave Moreau, 1889 -1890, Oil on canvas, National Gallery, London

“St. George and the Dragon” by Peter Paul Rubens (c. 1605-1607) – This large-scale painting is located in the Prado Museum in Madrid, Spain.

“St. George and the Dragon” by Salvador Dalí (1942), Oil on ivory, whereabouts unknown.

“St George and the Dragon” by Paolo Veronese, c.1564 oil on canvas, San Giorgio in Braida. Veron.

“St. George and the Dragon” by Edward Burne-Jones (1866) – Art Gallery of New South Wales, Sydney

Oil on tempera, Art Institute of Chicago

“St. George and the Dragon” by Bernat Martorell (1434-1437) – This painting is on display at the Art Institue of Chicago

“St. George and the Dragon” by Tintoretto (1555-1558) – National Gallery, London

Tempera on panel San Giorgio di Andrea Mantegna Cat.588

“St. George and the Dragon” by Andrea Mantegna (c. 1460) – Gallerie dell’Accademia in Venice.

These artworks represent a range of styles, periods, and interpretations of the iconic “St. George and the Dragon” theme. From the Renaissance to modern and contemporary art, each artwork offers a unique perspective on the legendary story of St. George’s battle with the dragon.

*locations can change

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Paul Cézanne’s influence on Abstract Art

Mont Sainte-Victoire
1882–1885
Metropolitan Museum of Art

(An early version)

Mont Sainte-Victoire and Château Noir
1904–05
Bridgestone Museum of Art, Tokyo, Japan

Paul Cézanne (1839-1906) was a French artist who played a significant role in the development of modern art, particularly in the transition from Impressionism to the emergence of abstract art in the 20th century. Although Cézanne himself did not fully embrace abstraction, his innovative approach to painting and his exploration of form, color, and perspective had a profound influence on subsequent artists, paving the way for the abstract art movement.

Cézanne’s unique style can be described as a bridge between the representational art of the past and the abstract art of the future. He sought to capture the essence of his subjects rather than merely reproducing their outward appearance. He broke away from the traditional rules of perspective and depth, and instead focused on simplifying forms, flattening planes, and emphasizing geometric shapes. This approach laid the foundation for the abstract exploration of form and space in the 20th century

Still Life with a Teapot
1902-05
National Museum Cardiff

One of the key aspects of Cézanne’s work that had a lasting impact on abstract art was his emphasis on the fundamental elements of painting, such as color, shape, and composition. He believed in the significance of the artist’s subjective interpretation and expression, which laid the groundwork for the abstract artists who would follow. Cézanne’s use of color, particularly his exploration of color relationships and his bold, expressive brushwork, greatly influenced the development of abstract expressionism.

Cézanne’s emphasis on the formal qualities of art, rather than strict representation, also influenced abstract artists in their exploration of non-objective art. By focusing on the arrangement of lines, shapes, and colors, Cézanne demonstrated that the essence of a subject could be conveyed through abstracted forms. This notion of reducing objects to their basic elements and exploring the interplay of these elements became central to abstract art movements such as Cubism and Constructivism.

Georges Braque, 1909–10, La guitare (Mandora, La Mandore), oil on canvas, 71.1 x 55.9 cm, Tate Modern, London

Furthermore, Cézanne’s approach to landscapes and still lifes, where he broke down objects into geometric forms and explored multiple perspectives simultaneously, directly influenced the development of Cubism. Artists like Pablo Picasso and Georges Braque drew inspiration from Cézanne’s experimentation with multiple viewpoints and his deconstruction of form, leading to the revolutionary artistic movement of Cubism, which pushed further into abstraction.

In summary, Paul Cézanne’s contributions to the art world were instrumental in paving the way for the emergence of abstract art. His innovative approach to form, color, and perspective challenged traditional artistic conventions and inspired subsequent artists to explore the abstract and non-representational aspects of art. Cézanne’s influence can be seen in the development of movements such as abstract expressionism, Cubism, and Constructivism, as artists sought to push the boundaries of representation and delve into the realm of pure abstraction.

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The Classical Influence on English Architecture in Inigo Jones Projects

Banqueting House Whitehall, London, 1622

Inigo Jones, not Indigo Jones, was an influential English architect who lived from 1573 to 1652. He is widely regarded as one of the first prominent architects of the early modern period in England. Jones is best known for his contribution to the architectural style known as Palladianism, which drew inspiration from classical Roman architecture. While he is renowned for his work on various buildings, including the Banqueting House in London, his influence on traditional stately homes in England cannot be overlooked.

During Jones’ time, the traditional stately homes in England underwent a transition in architectural style. Prior to Jones, the predominant style was known as Tudor or Elizabethan, characterized by half-timbered structures, ornamental brickwork, and intricate detailing. In contrast, Jones embraced the classical principles of proportion, symmetry, and order, which he had studied during his travels in Italy.

Jones introduced a more restrained and classical architectural language to English stately homes. His designs incorporated elements such as columns, pediments, and classical ornamentation. He emphasized the use of geometric forms, regularity, and a sense of balance in his compositions. Jones’ work helped establish the Palladian style in England, which later became a defining characteristic of many traditional stately homes.

The Queen’s House, Greenwich, London, 1616 – 1635

One notable example of Jones’ influence is the remodeling of the Queen’s House in Greenwich, London, which was commissioned by Queen Anne of Denmark. The Queen’s House is considered one of Jones’ most important works, showcasing his mastery of classical proportions and elegant design. The building’s symmetrical façade, grand central entrance, and harmonious proportions exemplify the principles of Palladian architecture.

Wilton House , Wiltshire, South face additions, circa 1630

Another significant project influenced by Jones is Wilton House in Wiltshire. Jones was involved in the redesign of the house’s south front, where he introduced a classical pedimented entrance and a colonnaded loggia, creating a grand and imposing architectural composition.

While Jones’ work primarily focused on public and royal buildings, his influence extended to the design of stately homes across England. His architectural principles and classical aesthetics were widely adopted by subsequent generations of architects, who incorporated Palladian elements into the construction and remodeling of traditional country houses.

In summary, Inigo Jones played a pivotal role in introducing the Palladian style to England and revolutionizing the architectural landscape of traditional stately homes. His emphasis on classical proportions, symmetry, and order helped create a sense of grandeur and elegance that became synonymous with English country house design. Jones’ architectural legacy continues to inspire and influence the construction and preservation of stately homes in England to this day.