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The appearance of second originals is a feature of a new understanding of Caravaggio's work, and indeed Vincenzo Giustiniani, whose experience was closely related to the artist's career, describes in his Discorso sulla pittura the painter's development as beginning with copying others’ work – 'Proceeding further, he can also copy his own work, so that the replica may be as good, and even ...
Lute Player. Private Collection 96 × 121 cm Oil on canvas. Understood to be the original version of the Lute Player: c. 1596: Lute Player: Saint Petersburg, Hermitage Museum: 94 × 119 cm Oil on canvas: c. 1596: Lute Player: New York City, Metropolitan Museum of Art (on loan) 100 × 126,5 cm Oil on canvas: c. 1596: Basket of Fruit: Milan ...
The painting itself depicts a young man playing a lute. The figure is clad in rich clothing and a steel gorget, indicating he is a soldier - likely a Spanish mercenary. Like many of de Boulogne's paintings, Lute is heavily influenced by tenebrism, a style of art popularized by de Boulogne's contemporary Caravaggio. [2]
The Lute Player, 1596, oil on canvas, Caravaggio. Caravaggio seems to have composed the painting from studies of two figures. [10] The central figure with the lute has been identified as Caravaggio's companion Mario Minniti, and the individual next to him and facing the viewer is possibly a self-portrait of the artist. [4]
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Rombouts's The lute player (c. 1620, Philadelphia Museum of Art) is not solely a portrait of a musician but also alludes to the five senses through the objects included in the composition: hearing (the lute), taste (the tankard), smell (the pipe), sight (the musical scores), and touch (the knife). [12] The Card and backgammon players.
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