LaurieAnnie's photos with the keyword: Caravaggio

Title: The Denial of Saint Peter Artist: Caravaggio (Michelangelo Merisi) (Italian, Milan or Caravaggio 1571–1610 Porto Ercole) Date: 1610 Medium: Oil on canvas Dimensions: 37 x 49 3/8 in. (94 x 125.4 cm) Classification: Paintings Credit Line: Gift of Herman and Lila Shickman, and Purchase, Lila Acheson Wallace Gift, 1997 Accession Number: 1997.167 Caravaggio’s late works depend for their dramatic effect on brightly lit areas standing in contrast to a dark background. The picture, a marvel of narrative concision, was painted in the last months of Caravaggio’s tempestuous life and marks an extreme stage in his revolutionary style. Standing before a fireplace, Peter is accused of being a follower of Jesus. The pointing finger of the soldier and two fingers of the woman allude to the three accusations and to Peter’s three denials. In 1613 the painting belonged to Guido Reni, who received it from the engraver Luca Ciamberlano as compensation for debts. Text from: www.metmuseum.org/art/collection/search/437986

Title: The Denial of Saint Peter Artist: Caravaggio (Michelangelo Merisi) (Italian, Milan or Caravaggio 1571–1610 Porto Ercole) Date: 1610 Medium: Oil on canvas Dimensions: 37 x 49 3/8 in. (94 x 125.4 cm) Classification: Paintings Credit Line: Gift of Herman and Lila Shickman, and Purchase, Lila Acheson Wallace Gift, 1997 Accession Number: 1997.167 Caravaggio’s late works depend for their dramatic effect on brightly lit areas standing in contrast to a dark background. The picture, a marvel of narrative concision, was painted in the last months of Caravaggio’s tempestuous life and marks an extreme stage in his revolutionary style. Standing before a fireplace, Peter is accused of being a follower of Jesus. The pointing finger of the soldier and two fingers of the woman allude to the three accusations and to Peter’s three denials. In 1613 the painting belonged to Guido Reni, who received it from the engraver Luca Ciamberlano as compensation for debts. Text from: www.metmuseum.org/art/collection/search/437986

The Denial of Saint Peter 1610 Object Details Artist: Caravaggio (Michelangelo Merisi) (Italian, Milan or Caravaggio 1571–1610 Porto Ercole) Date: 1610 Medium: Oil on canvas Dimensions: 37 x 49 3/8 in. (94 x 125.4 cm) Classification: Paintings Credit Line: Gift of Herman and Lila Shickman, and Purchase, Lila Acheson Wallace Gift, 1997 Accession Number: 1997.167 Caravaggio’s late works depend for their dramatic effect on brightly lit areas standing in contrast to a dark background. The picture, a marvel of narrative concision, was painted in the last months of Caravaggio’s tempestuous life and marks an extreme stage in his revolutionary style. Standing before a fireplace, Peter is accused of being a follower of Jesus. The pointing finger of the soldier and two fingers of the woman allude to the three accusations and to Peter’s three denials. In 1613 the painting belonged to Guido Reni, who received it from the engraver Luca Ciamberlano as compensation for debts. Text from: www.metmuseum.org/art/collection/search/437986

The Denial of Saint Peter 1610 Object Details Artist: Caravaggio (Michelangelo Merisi) (Italian, Milan or Caravaggio 1571–1610 Porto Ercole) Date: 1610 Medium: Oil on canvas Dimensions: 37 x 49 3/8 in. (94 x 125.4 cm) Classification: Paintings Credit Line: Gift of Herman and Lila Shickman, and Purchase, Lila Acheson Wallace Gift, 1997 Accession Number: 1997.167 Caravaggio’s late works depend for their dramatic effect on brightly lit areas standing in contrast to a dark background. The picture, a marvel of narrative concision, was painted in the last months of Caravaggio’s tempestuous life and marks an extreme stage in his revolutionary style. Standing before a fireplace, Peter is accused of being a follower of Jesus. The pointing finger of the soldier and two fingers of the woman allude to the three accusations and to Peter’s three denials. In 1613 the painting belonged to Guido Reni, who received it from the engraver Luca Ciamberlano as compensation for debts. Text from: www.metmuseum.org/art/collection/search/437986

The Musicians,1597 Object Details Artist: Caravaggio (Michelangelo Merisi) (Italian, Milan or Caravaggio 1571–1610 Porto Ercole) Date: 1597 Medium: Oil on canvas Dimensions: 36 1/4 x 46 5/8 in. (92.1 x 118.4 cm) Classification: Paintings Credit Line: Rogers Fund, 1952 Accession Number: 52.81 Although described by contemporaries as "a music piece,” this picture presents an allegory of music in terms of a contemporary performance; Cupid’s presence signals its allegorical intention. The costumes have a vaguely classical look and Caravaggio included his self-portrait in the second boy from the right. Trained in Lombardy, Caravaggio initially made his reputation in Rome with paintings of half-length figures, such as this one, which was painted for his first great patron, Cardinal Francesco del Monte. Text from: www.metmuseum.org/art/collection/search/435844

The Musicians,1597 Object Details Artist: Caravaggio (Michelangelo Merisi) (Italian, Milan or Caravaggio 1571–1610 Porto Ercole) Date: 1597 Medium: Oil on canvas Dimensions: 36 1/4 x 46 5/8 in. (92.1 x 118.4 cm) Classification: Paintings Credit Line: Rogers Fund, 1952 Accession Number: 52.81 Although described by contemporaries as "a music piece,” this picture presents an allegory of music in terms of a contemporary performance; Cupid’s presence signals its allegorical intention. The costumes have a vaguely classical look and Caravaggio included his self-portrait in the second boy from the right. Trained in Lombardy, Caravaggio initially made his reputation in Rome with paintings of half-length figures, such as this one, which was painted for his first great patron, Cardinal Francesco del Monte. Text from: www.metmuseum.org/art/collection/search/435844

The Musicians,1597 Object Details Artist: Caravaggio (Michelangelo Merisi) (Italian, Milan or Caravaggio 1571–1610 Porto Ercole) Date: 1597 Medium: Oil on canvas Dimensions: 36 1/4 x 46 5/8 in. (92.1 x 118.4 cm) Classification: Paintings Credit Line: Rogers Fund, 1952 Accession Number: 52.81 Although described by contemporaries as "a music piece,” this picture presents an allegory of music in terms of a contemporary performance; Cupid’s presence signals its allegorical intention. The costumes have a vaguely classical look and Caravaggio included his self-portrait in the second boy from the right. Trained in Lombardy, Caravaggio initially made his reputation in Rome with paintings of half-length figures, such as this one, which was painted for his first great patron, Cardinal Francesco del Monte. Text from: www.metmuseum.org/art/collection/search/435844

The Musicians,1597 Object Details Artist: Caravaggio (Michelangelo Merisi) (Italian, Milan or Caravaggio 1571–1610 Porto Ercole) Date: 1597 Medium: Oil on canvas Dimensions: 36 1/4 x 46 5/8 in. (92.1 x 118.4 cm) Classification: Paintings Credit Line: Rogers Fund, 1952 Accession Number: 52.81 Although described by contemporaries as "a music piece,” this picture presents an allegory of music in terms of a contemporary performance; Cupid’s presence signals its allegorical intention. The costumes have a vaguely classical look and Caravaggio included his self-portrait in the second boy from the right. Trained in Lombardy, Caravaggio initially made his reputation in Rome with paintings of half-length figures, such as this one, which was painted for his first great patron, Cardinal Francesco del Monte. Text from: www.metmuseum.org/art/collection/search/435844

The Musicians,1597 Object Details Artist: Caravaggio (Michelangelo Merisi) (Italian, Milan or Caravaggio 1571–1610 Porto Ercole) Date: 1597 Medium: Oil on canvas Dimensions: 36 1/4 x 46 5/8 in. (92.1 x 118.4 cm) Classification: Paintings Credit Line: Rogers Fund, 1952 Accession Number: 52.81 Although described by contemporaries as "a music piece,” this picture presents an allegory of music in terms of a contemporary performance; Cupid’s presence signals its allegorical intention. The costumes have a vaguely classical look and Caravaggio included his self-portrait in the second boy from the right. Trained in Lombardy, Caravaggio initially made his reputation in Rome with paintings of half-length figures, such as this one, which was painted for his first great patron, Cardinal Francesco del Monte. Text from: www.metmuseum.org/art/collection/search/435844

The Musicians, ca. 1595 Caravaggio (Michelangelo Merisi) (Italian, Lombard, 1571–1610) Oil on canvas; 36 1/4 x 46 5/8 in. (92.1 x 118.4 cm) Rogers Fund, 1952 (52.81) Trained in Lombardy, Caravaggio moved in 1592 or 1593 to Rome, where he initially made his reputation with a number of realistic paintings of half-length figures. This picture dates about 1595 and was painted for his first great patron, Cardinal Francesco del Monte. Although it was described by contemporaries as simply "una musica" (music piece), it is an allegory of music. Cupid, "who is always in the company of music" (Vasari), is shown at left with a bunch of grapes, "because music was invented to keep spirits happy, as does wine" (Ripa). The costumes have a vaguely classical look. The surface of the picture is worn and there are extensive losses in the back of the right-hand figure and in the still life of music and the violin. The upturned page of music is a reconstruction based on an old copy of the picture. Text from: www.metmuseum.org/Works_of_Art/viewOne.asp?dep=11&vie...

Hardly the best photo, but the lighting was poor... The Crucifixion of St. Peter (Crocefissione di san Pietro) (1600) is a masterpiece by Michelangelo Merisi da Caravaggio, painted for the Cerasi Chapel of Santa Maria del Popolo in Rome. Across the chapel is a second Caravaggio painting depicting the stunning The Conversion of Saint Paul on the Road to Damascus (1601) . On the altar, between the two, is a luminous and crowded Assumption of the Virgin Mary by Annibale Carracci. The painting depicts the martyrdom of St. Peter, which legend has it, was by crucifixion, although Peter asked that his cross be inverted so as not to not try to imitate his mentor, Christ. The large canvas shows straining Romans with mostly shielded faces struggle to erect the cross of the elderly but muscular St. Peter. Peter is heavier than his aged body would suggest and requires the struggles of three men, as if the crime they perpetrate already weighs on them. This crucifixion is bloodless but not painless. It is a zig-zag of diagonals, tipping towards the inevitable martyrdom. The two Caravaggios, as well as the alterpiece by Carraci, were commissioned by Monsignor Tiberio Cerasi in September 1600. Caravaggio's original versions of both paintings were rejected, and the works in the chapel now were painted as second versions in 1601. The first Conversion of Paul has been identified with the The Conversion of Saint Paul (1600) in the Odescalchi Balbi Collection, Rome, but the first version of the Crucifixion of Peter has disappeared. Some scholars have identified the lost Crucifixion with a painting now in the Hermitage Museum in St Petersburg, but this is not generally accepted. The first versions passed into the private collection of Cardinal Sannessio, and several modern scholars (including John Gash, Helen Lagdon and Peter Robb - see References section below) have speculated that Sennassio may simply have taken advantage of Cerasi's sudden death to simply seize some pictures by Rome's most famous new painter. In all events, the second versions, which seem to have been more unconventional than the first, were accepted without comment by the executors of Cerasi's estate. The two saints, Peter and Paul, together represent the foundations of the Catholic church, Peter the 'rock' upon which Christ declared his Church to be built (Gospel of Matthew 16:18), Paul who founded the seat of the church in Rome. Caravaggio's paintings were thus intended to symbolise Rome's (and Cerasi's) devotion to the Princes of the Apostles in this church which dominated the great piazza welcoming pilgrims as they entered the city from the north, representing the great Counter-Reformation themes of conversion and martyrdom and serving as potent propaganda against the twin threats of backsliding and Protestantism. Caravaggio, or his patron, must have had in mind the Michelangelo frescoes in the Vatican's Capella Paolina when choosing the subjects for these paintings. However, the Caravaggio scene is far more stark than the confusing melee miracle of the mannerist Michelangelo fresco (1546-1550) [1] in the Vatican. Text from: en.wikipedia.org/wiki/Crucifixion_of_St._Peter_(Caravaggio)