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The scene, popular with Italian artists in general and with Caravaggio himself, is not directly inspired by the Bible, but rather by the tale as related in the Golden Legend. [7] It is the only work by Caravaggio to bear the artist's signature, which he placed in red blood spilling from the Baptist's cut throat. [8]
However, during a General Audience on 25 June 1997, Pope John Paul II affirmed that Mary did indeed experience natural death prior to her assumption into Heaven. [13] Caravaggio's painting is the last major Catholic work of art in which Mary is clearly dead. Caravaggio does not depict an assumption but her death.
In the latter case, Caravaggio transports Michelangelo's self-portrait to his own painting. [14] Although Caravaggio's Entombment of Christ is related to Michelangelo's Pieta, it is not a Pieta because even if there is the presence of the Virgin Mary in the painting there are not the right number nor types of people present. [15]
Caravaggio employed close physical observation with a dramatic use of chiaroscuro that came to be known as tenebrism. He made the technique a dominant stylistic element, transfixing subjects in bright shafts of light and darkening shadows. Caravaggio vividly expressed crucial moments and scenes, often featuring violent struggles, torture, and ...
Caravaggio depicted beheadings multiple times in his work, including Judith beheading Holofernes, The beheading of Saint John the Baptist, David with the head of Goliath and Medusa, but he probably changed the beheading in this painting due to a request of the city’s senate. [4] The church of Santa Lucia al Sepulcro in Syracuse.
John the Baptist (sometimes called John in the Wilderness) was the subject of at least eight paintings by the Italian Baroque artist Michelangelo Merisi da Caravaggio (1571–1610). The story of John the Baptist is told in the Gospels. John was the cousin of Jesus, and his calling was to prepare the way for the coming of the Messiah.
The Capuchins were among the few religious patrons and critics who were fond of Caravaggio's brutal realism. Many were critical of Caravaggio's approach to his religious paintings and called it “vulgar” to represent biblical figures as ordinary peasants. The focal point of the scene is Mary in the center. She is swathed in bright red.
The episodes from the life of Peter are on the left (from the top to bottom): Peter delivered from prison (Acts 12:6–11); The Fall of Simon Magus (Acts of Peter XXXII) and Peter and John healing the cripple (Acts 3:1–10). The lower zone of the walls, up to a height of 2.2 m from the floor, is covered with fake painted marble, interspersed ...