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John the Baptist (John in the Wilderness), by Caravaggio, 1604, in the Nelson-Atkins Museum of Art, Kansas City. Tenebrism, from Italian tenebroso ('dark, gloomy, mysterious'), also occasionally called dramatic illumination, is a style of painting using especially pronounced chiaroscuro, where there are violent contrasts of light and dark, and where darkness becomes a dominating feature of the ...
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 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 ...
Chiaroscuro is one of the canonical painting modes of the Renaissance (alongside cangiante, sfumato and unione) (see also Renaissance art). Artists known for using the technique include Leonardo da Vinci, Caravaggio, [4] Rembrandt, [5] [6] Vermeer, [7] Goya, [8] and Georges de La Tour.
Among the painters influenced by Caravaggio, apart from the Utrecht Caravaggists, are Orazio Gentileschi, Artemisia Gentileschi, Bartolomeo Manfredi, Georges de la Tour, Rembrandt van Rijn, Jusepe de Ribera and Johann Ulrich Loth. Caravaggio's influences are also evident in paintings by Jan Vermeer, Diego Velázquez and Francisco de Zurbarán.
Art writers noted several elements of the painting as dominant, either visually or thematically. Moir, for example, notes the key role that the contrast between light and shadow plays in the composition: a window placed high on the left allows a ray of light to penetrate the room, illuminating, as it slides over the wall, the boy, the lush fruit basket, the shirt sleeve, the sensual bare ...
The Age of Caravaggio: an exhibition held at the Metropolitan Museum of Art, New York, February 5-April 14, 1985, and at the Museo Nazionale di Capodimonte. New York, Milan: The Metropolitan Museum of Art and Electa. ISBN 0-87099-382-8. Hilaire, Michel (1995). Caravage, le sacré et la vie. Paris: Herscher. ISBN 2-7335-0251-4. Longhi, Roberto ...
The edge of the canvas is rather damaged, but the central panel is in good condition. The presence of "incisions" into the ground of the canvas marking out St. Peter's ear and the eyes of Christ are typical of Caravaggio's technique. [1] The painting appears to date from the height of Caravaggio's Roman period, c. 1603–06.