conversion of st paul artist

In the late 18th century, the palace was restored and decorated by Almorò Alvise Pisani (1754–1808) after his marriage to Giustiniana Pisani di Santa Maria del Giglio, who brought as her dowry the possessions of that line, which was extinguished with her. West Building [3]  [3]Recent scholars have uniformly accepted the painting as an autograph work by Tintoretto dating from somewhere in the years before 1545: Pierluigi De Vecchi, L’opera completa del Tintoretto (Milan, 1970), 89, no. To make the viewer feel even closer to Paul, this painting hangs at eye-level in the chapel. Three horses fall down a fantastic outdoor stairway, one upside down, his rider beneath him. See Lino Moretti, “I Pisani di Santo Stefano,” 138–139, 166, 170. William Congdon, Conversion of St. Paul, 1961, oil on fiberboard, Smithsonian American Art Museum, Gift of S.C. Johnson & Son, Inc., 1968.52.4 Roland Krischel, Jacopo Tintoretto, 1519–1594 (Cologne, 2000), 10, pointed out that Tintoretto’s painting seems closer in some details to the drawing than to the painting as known from copies and prints. $16. Closed, Sculpture Garden 2] Titian, Preparatory drawing for the Battle of Spoleto, c. 1538, charcoal and black chalk, brown wash, heightened with white, squared for transfer, on blue paper, Musée du Louvre, Paris. In 1809, after Almorò Alvise’s death, his son, also named Almorò Francesco, and Almorò Francesco (the brother of Almorò Alvise) divided up the remaining undivided assets, the trust having been invalidated by Napoleonic law. Wilhelm Suida, “Zwei unbekannte Werke Tintorettos,” Pantheon 23 (1939): 122 n. 1, reported that he took this reference to the Cornaro version from a list of Tintoretto’s lost pictures in an unpublished manuscript by Hans Thode in the Kunsthistorisches Institut in Florenz. For Cassegrain, the falling and drowning figures represent false paths to God, and Paul’s conversion becomes an act of divine grace. Detlev von Hadeln (Berlin, 1924), 2:15. About 1767, Nicolas-Bernard Lepicie painted this colorful art of Paul's conversion. Suida suggested that the Cornaro picture and the Canonici picture may be the same. Almorò Alvise and his brother Almorò Francesco (1759–1836) fell into debt and in 1781 divided up all the family property not bound by the trust. Michelangelo Merisi Da Caravaggio. (This version is presumed to have been lost in a fire that destroyed the collection in 1638.) ‘The Conversion Of St Paul’ was created in 1528 by Parmigianino in Mannerism (Late Renaissance) style. 97. Their terror seems to reverberate around them as ominous clouds and a strong wind seize upon the landscape. The old hostler in the background seems not to notice, as his is preoccupied with the horse, and not focused on Paul. For a detailed analysis of how Tintoretto’s painting reflects these and related sources, see Robert Echols, “Jacopo Tintoretto and Venetian Painting 1538–1548” (PhD diss., University of Maryland, 1993), 130–143. Caravaggio painted the Conversion of Saint Paul for the Cerasi Chapel in the Roman church of Santa Maria del Popolo. It is one of at least two paintings by Caravaggio of the same subject, the Conversion of Paul. As in other early paintings, the ambitious young artist sets up an implicit challenge to the great masters of the present and recent past through references to some of their most celebrated works. Gaetano Milanesi (Florence, 1881), 6:591. The other also dates from c. 1601. Although his outspoken disdain for the classical masters (which was often only spoken, not real since his works do exhibit classical characteristics) drew a lot of bitter criticism from critics and other painters alike, Caravaggio still continued to receive a lot of commissions for private and public purposes. [5]  [5]Rodolfo Pallucchini and Paola Rossi, Tintoretto: Le opere sacre e profane (Venice, 1982), 1: cat. As in other works from this phase, such as the Supper at Emmaus (Szépművészeti Múzeum, Budapest) and Christ among the Doctors (Museo del Duomo, Milan), the extreme dynamism seems intended to challenge and even shock, as does the unconventional pictorial technique. [fig. ‘The Conversion Of St Paul’ was created in 1528 by Parmigianino in Mannerism (Late Renaissance) style. One painting that is characteristic of his style is Conversion of Saint Paul. A viewer who has never seen this painting before might easily mistake the scene for a simple accident at a stable. Michelangelo Merisi da Caravaggio (1571–1610) painted The Conversion of St. Paul to be paired with Crucifixion of St. Peter and to establish a theme of suffering in the private chapel of Monsignor Tiberio Cerasi, treasurer general under Pope Clement VIII, in Santa Maria del Popolo in Rome. This miracle is commemorated in the Catholic church on January 25th. Access more artwork lots and estimated & realized auction prices on MutualArt. Log in to USEUM to download unlimited free images, send e-cards and interact with thousands of famous paintings, drawings and illustrations. [8]  [8]The influence of Raphael’s cartoon for the Conversion of Saint Paul, Titian’s Battle of Spoleto (or Battle of Cadore, as it is sometimes called), and Pordenone’s compositions was noted by Wilhelm Suida, “Zwei unbekannte Werke Tintorettos,” Pantheon 23 (1939): 122, and Rodolfo Pallucchini, La giovinezza del Tintoretto (Milan, 1950), 86, and has been discussed by many subsequent scholars. $17. 100% satisfaction guaranteed. The paintings were sold and dispersed, along with many of the other treasures of the palace, much of which was also sold off over the following decades. (See copies of correspondence in NGA curatorial files.). In a draft of one of the documents prepared for the Count's signature in connection with the offer this painting is described as one "which came from my personal collection in Florence." In the late 18th century, the palace was restored and decorated by Almorò Alvise Pisani (1754-1808) after his marriage to Giustiniana Pisani di Santa Maria del Giglio, who brought as her dowry the possessions of that line, which was extinguished with her. See Francis Richardson, Andrea Schiavone (PhD diss., New York University, 1971; Oxford, 1980), 176–177, cat. In addition, the collection included one other major early painting by Tintoretto (the Visit of Solomon and the Queen of Sheba, now Château de Chenonceaux) as well as a Crucifixion from Tintoretto’s studio in the mid-1550s (now Museo Civico, Padua). From a religious perspective, the image of Christ winning over Saul represented divine power and specifically the victory of the Church over its enemies. 4. The paintings were sold and dispersed, along with many of the other treasures of the palace, much of which was also sold off over the following decades. On the print after Pordenone’s Marcus Curtius, see David Rosand and Michelangelo Muraro, Titian and the Venetian Woodcut (Washington, DC, 1976), 248, cat. Caravaggio treated both themes with extreme austerity and simplicity. Caravaggio also applied different formal devices to enhance this religious scene. St. Paul on the Road to Damascus, Aniello Falcone, c 1650. On the Louvre drawing for the Battle of Spoleto, see Le Siècle de Titien. As Krischel in Tintoretto: A Star Was Born (Cologne, 2017), 84, noted, Tintoretto also seems to have looked closely at an earlier, anonymous, four-block Venetian woodcut of the same subject. 296, fig. Lutheran Brotherhood's Collection of Religious Art. St. Paul was a christian hunter before he miraculously converted while road tripping. The Conversion Of St Paul, Detail Painting. (Christ among the Doctors); Frederick Ilchman et al., Titian, Tintoretto, Veronese: Rivals in Renaissance Venice (Boston, 2009), 150–152, cat. In 1809, after Almorò Alvise’s death, his son, also named Almorò Francesco, and Almorò Francesco (the brother of Almorò Alvise) divided up the remaining assets, the trust having been invalidated by Napoleonic law. The inventory was prepared at this time. Saul was on his way to Damascus, to destroy the Christian community in that city. This panel is in the Odescalchi Balbi Collection in Rome. [2] Gustav Friedrich Waagen, Galleries and Cabinets of Art in Great Britain: Being an Account of more than Forty Collections of Paintings, Drawings, Sculptures, Mss., &c.&c., London, 1857: 448. Miguel Falomir (Madrid, 2007), 192–195 (c. 1544); Robert Echols and Frederick Ilchman, “Toward a New Tintoretto Catalogue, with a Checklist of Revised Attributions and a New Chronology,” in Jacopo Tintoretto: Actas del congreso internacional/Proceedings of the International Symposium, Museo Nacional del Prado, Madrid, February 26–27, 2007 (Madrid, 2009), 121, no. [1] As proposed by Lino Moretti, “I Pisani di Santo Stefano e le opere d’arte del loro palazzo,” in Il Conservatorio di musica Benedetto Marcello a Venezia: 1876–1976: Centenario della fondazione, edited by Pietro Verardo, Venice, 1977: 170. Upon regaining his sight, he changed his name to Paul and became a Christian, going on to become one of the major authors of the New Testament. no. For a detailed analysis of how Tintoretto’s painting reflects these and related sources, see Robert Echols, “Jacopo Tintoretto and Venetian Painting 1538–1548” (PhD diss., University of Maryland, 1993), 130–143. The Conversion of Saint Paul; Taddeo Zuccaro (Italian, 1529 - 1566); Italy; 1558/1559–1566; Pen and brown ink, brush with brown wash, black chalk, and lead white heightening on blue paper; 26.2 × 39.5 cm (10 5/16 × 15 9/16 in. Every year, the St. Paul Center prays a novena for the feast of the Conversion of St. Paul, January 25. Frightened men and horses tangle and crash to the ground. As he neared the city with his troops, a great light flashed around him; he fell to the ground and heard a voice speak, “Saul, Saul, why do you persecute me?” The theme was a popular subject for artists in the 16th century. Only Edoardo Arslan, Le pitture del Duomo di Milano (Milan, 1960), 20, showed some hesitation about the attribution. Tintoretto’s early paintings have often been attributed to Schiavone. 1] After Raphael, The Conversion of Saint Paul, based on a cartoon by Raphael from the series Acts of the Apostles, 16th century, tapestry, Palazzo Ducale, Mantua. There are certainly many other paintings of Paul and his adventures, but it's hard to beat the drama of heaven's light lighting up a guy after knocking him off his horse. Tintoretto’s painting is also similar to a drawing by Pordenone of the Conversion of Saint Paul (Morgan Library and Museum, New York). Guillaume Cassegrain, “‘Ces choses ont été des figures de ce qui nous concerne’: Une lecture de la ‘Conversion de Saint Paul’ du Tintoret,” Venezia Cinquecento 6 (1996): 55–84, building in part on this argument, offered a detailed interpretation that defines the painting as providing a moral lesson that goes beyond the narrative limits of the theme, invoking but standing apart from two traditions of representation of the conversion of Paul: one portraying Saul overcome by the violence of the divine light and word, and the other emphasizing the moment of revelation and the ecstatic quality of the conversion experience. 1544,” Italian Paintings of the Sixteenth Century, NGA Online Editions, https://purl.org/nga/collection/artobject/46142 (accessed January 17, 2021). A mighty wind whips banners, sails, and trees; the waves roil; clouds roll down from the sky to hide the distant mountains. From Titian’s lost masterpiece Tintoretto took his arrangement of water, bridge, hillside, and distant panorama, as well as his vision of nature echoing the maelstrom of men and horses. 13). For artists, the story provided an opportunity to show off their skills in what often came to be treated as a battle scene, although the biblical text states only that Saul’s companions heard the sound but saw nothing. By Nicolas-Bernard Lepicie (1735-84). 3] Niccolò Vicentino, after Pordenone, Marcus Curtius, 1530/1560, chiaroscuro woodcut from three blocks in green, British Museum, London. Caravaggio has been called sordid, grotesque, and violent. Although the Gallery’s Conversion of Saint Paul is the only known surviving example of the subject by Tintoretto, he painted it a number of times: as a fresco on a Venetian palace facade (Palazzo Zen ai Crociferi, mentioned previously); on the outer doors of the organ shutters for Santa Maria del Giglio;[12]  [12]Noted by Giorgio Vasari, Le vite de’ più eccellenti pittori, scultori e architettori, ed. (painter) A soldier holds his hands to his head. In addition, the figure in the water in the lower right seems to echo one of the fallen giants in Giulio Romano’s Sala dei Giganti, which Tintoretto probably saw on a visit to Mantua in the early 1540s. Carlo Ridolfi, Le maraviglie dell’arte, overo Le vite de gl’illustri pittori veneti, e dello stato (Venice, 1648), 2:7; Carlo Ridolfi, Le maraviglie dell’arte, overo Le vite de gl’illustri pittori veneti, e dello stato, ed. National Gallery, London. The Conversion of St. Paul, 1767, oil on canvas. no. The basic composition of the final work is already evident here, as are specific details: the dog in the lower left, the men attending the stricken Paul and the figure restraining his horse on the right. Change ), You are commenting using your Google account. Motion; Coded; Charged; Networks; Bodies; Simulations; Exhibitions; Menu The 1809 inventory by Pietro Edwards of the painting gallery of the Palazzo Pisani a Santo Stefano lists a Conversion of Saint Paul attributed to Andrea Schiavone, measuring 157 × 235 cm. Detlev von Hadeln (Berlin, 1924), 2:52. Other parts of the picture are unfinished in a conventional sense: the head of the mounted soldier on the bridge silhouetted against the banner is represented with a single circular brushstroke; the waves in the water are rendered with a few quick strokes of dry white paint, clearly showing the mark of the individual brush hairs. painting by Benjamin West (Museum: Dallas Museum of Art). As Saul and his troops approached the city, he saw a flash of light around him and, falling to the ground, heard a voice say, “Saul, Saul, why do you persecute me?”. Caravaggio depicted Saint Paul at the moment of his conversion, lying on his back with his hands thrown up in the air and his eyes closed. 2. 175), while Guillaume Cassegrain, “‘Ces choses ont été des figures de ce qui nous concerne’: Une lecture de la ‘Conversion de Saint Paul’ du Tintoret,” Venezia Cinquecento 6 (1996): 59, and idem., Tintoret (Paris, 2010), 12–14, proposed the horses in the background of Leonardo’s unfinished painting of the Adoration of the Magi (Uffizi, Florence). On the far shore a riderless group gallops away in panic. 1809. Detlev von Hadeln (Berlin, 1924), 2:52. Previously an avid persecutor of Christians, Saul—as he was originally known—was struck by temporary blindness while en route to the city of Damascus. The paintings were sold and dispersed, along with many of the other treasures of the palace, much of which was also sold off over the following decades. Artist Georg Pencz Title The Conversion of St. Paul Origin Germany Date 1543 Medium Engraving in black on ivory laid paper Dimensions 78 × 114 mm (sheet) Credit Line Gift of Mr. and Mrs. Potter Palmer, Jr. Reference Number 1919.2542 Extended information about this artwork *For more on Caravaggio and his significance as an artist, below is an episode about him from an Art History series called The Power Of Art. Also contributing to the energy of the picture is the artist’s varied brushwork, which in some areas is strikingly free. L’Âge d’Or de la Peinture à Venise (Paris, 1993), 574–575, cat. [10]  [10]See Francis Richardson, Andrea Schiavone (PhD diss., New York University, 1971; Oxford, 1980), 176–177, cat. Robert Echols and Joanna Dunn based on the examination report by Ann Hoenigswald. View The Conversion of St. Paul (1786) By Benjamin West; Oil on canvas; 58 x 49 in. The Conversion of Saint Paul The Conversion of St Paul Michelangelo Caravaggio received a commission to create two paintings for the Cerasi Chapel in Santa Maria del … Among the earlier scholars listed in the references, the only ones assigning the picture a post-1545 date are Erich von der Bercken, Die Gemälde des Jacopo Tintoretto (Munich, 1942), 96 (1546/1552); and Antonio Morassi, “Review of La giovinezza del Tintoretto, by Rodolfo Pallucchini,” Emporium 115 (1952): 240 (1560/1570). 74. The 1809 inventory by Pietro Edwards of the painting gallery of the Palazzo Pisani a Santo Stefano lists a Conversion of Saint Paul attributed to Andrea Schiavone, measuring 157 x 235 cm. 4]   [fig. Although Schiavone’s The Conversion of Saint Paul (Pinacoteca Querini-Stampalia, Venice) [fig. The fact that the Pisani gallery contained at least two early paintings by Tintoretto, along with one from the mid-1550s, raises the possibility that these three pictures were originally purchased by the same early patron of Tintoretto, either a member of the Pisani family or someone from whom the Pisani eventually acquired them. Descriptions of the latter suggest that they shared the large cast, explosive drama, and panoramic vista of the Washington picture. The compositional drawing of the entire facade is in the Victoria and Albert Museum, London (inv. Find art you love and shop high-quality art prints, photographs, framed artworks and posters at Art.com. Saint Paul, Paul the Apostle Painting. We offer free shipping as well as paid express transportation services. One of two known paintings by Caravaggio on the subject of the conversion of St Paul (or Saul). )gross weight: 106.595 kg (235 lb. no. W. R. Rearick cited a drawing of a horse formerly in the Türük Collection, Pittsburgh, as a preparatory drawing by Tintoretto for this painting. Caravaggio’s style encompasses naturalism often injected into religious topics, unidealized figures, and most of all dramatic lighting (his is best known for his effective and masterful use of tenebrism, the extreme use of lights and darks for dramatic effect). On the likelihood of a trip to Mantua by the young Tintoretto, see Roland Krischel, “Jacopo Tintoretto and Giulio Romano,” in Jacopo Tintoretto: Actas del Congresso Internacional/Proceedings of the International Symposium, ed. Suida suggested that the Cornaro picture and the Canonici picture may be the same. [2]  [2]Thomas Martone, The Theme of the Conversion of Saint Paul in Italian Paintings from the Earlier Christian Period to the High Renaissance (PhD diss., New York University, 1978; New York, 1985), 214–215, related the staircases in the painting to Jacob’s ladder, citing associations between Saint Paul and Jacob’s dream made in sermons by Saint Jerome, where the rock that serves as Jacob’s pillow is seen as a prefiguration of Christ, the foundation rock of the Church, and the ladder arising from it embodies an image of descent from and ascent to heaven. The Conversion of St. Paul is, judging on the basis of style, the same date as a painting by Garofalo of The Calling of St. Peter in the Borghese Gallery, Rome, and both paintings are the same size: larger and of a different format than are most of his narrative works of this type. The origin of the paintings in the Pisani galleria, a large majority of which date from the Cinquecento, is unknown. and in several works documented in Venetian private collections. no. However, no link can be established between the Pisani painting and the first documented appearance of the Gallery’s painting in the Kinnaird collection in 1857. ), framed: 193 x 276.2 x 14.9 cm (76 x 108 3/4 x 5 7/8 in. 2306 PD 114); see Miguel Falomir, ed., Tintoretto (Madrid, 2007), fig. Caravaggio is best known for being a renowned yet controversial Italian painter of the late 1500s and early 1600s. The 1809 inventory by Pietro Edwards of the painting gallery of the Palazzo Pisani a Santo Stefano lists a Conversion of Saint Paul attributed to Andrea Schiavone, measuring 157 × 235 cm. 97. The Conversion of Saint Paul, Karel Dujardin, 1662. Among the earlier scholars listed in the references, the only ones assigning the picture a post-1545 date are Erich von der Bercken, Die Gemälde des Jacopo Tintoretto (Munich, 1942), 96 (1546/1552); and Antonio Morassi, “Review of La giovinezza del Tintoretto, by Rodolfo Pallucchini,” Emporium 115 (1952): 240 (1560/1570). It also demonstrates "God's power to use everything, even the hostile persecutor, to achieve the divine purpose." “San Paolo di Giacomo Tintoretto, che casca da cavallo accompagnoto da molti altri pure a cavallo, che dalla paura spinti in fuga vano precipitando in diversi luoghi.” Giuseppe Campori, Raccolta di cataloghi ed inventarii inediti: Di quadri, statue, disegni, bronzi, dorerie, smalti, medaglie, avori, ecc., dal secolo XV al secolo XIX (Modena, 1870), 120–121. Caravaggio biography. The conversion of St. Paul the Apostle, which was in the second year after the Ascension of the Lord. [2] Count Alessandro Contini Bonacossi [1878-1955], Florence, by 1939;[3] sold June 1954 to the Samuel H. Kress Foundation, New York;[4] gift 1961 to NGA. But while referring to their works, Tintoretto’s painting resets them within a broader, more dynamic scene. The Conversion of St Paul, Caravaggio, 1600. 13). 9. In 1809, after Almorò Alvise’s death, his son, also named Almorò Francesco, and Almorò Francesco (the brother of Almorò Alvise) divided up the remaining assets, the trust having been invalidated by Napoleonic law. Pietro Verardo (Venice, 1977), 170. This panel is in the Odescalchi Balbi Collection in Rome. As described in Acts 9:3–7, he traveled from Jerusalem to Damascus to destroy the churches there. The lighter areas of the composition were then blocked in with light-colored paint. Lutheran Brotherhood's Collection of Religious Art. The Conversion of Saul is believed to be done between 1542 and 1545. ), Jacopo Tintoretto This early painting by the Venetian master Jacopo Tintoretto depicts the moment that led to Saul’s conversion. This work is linked to Acts 9:4. This painting in very different from other paintings of religious scenes. [6]  [6]For example, Christ among the Doctors (Museo del Duomo, Milan) is obviously modeled upon Raphael’s School of Athens; indeed, Paul Hills, “Decorum and Desire in Some Works by Tintoretto,” in Decorum in Renaissance Narrative Art, ed. 3 (2011): 716. 27 (c. 1544/1545); Fern Rusk Shapley, Catalogue of the Italian Paintings (Washington, DC, 1979), 1:468 (c. 1545); Rodolfo Pallucchini and Paola Rossi, Tintoretto: Le opere sacre e profane (Venice, 1982), 1:142–143 (c. 1544); Francesco Valcanover and Terisio Pignatti, Tintoretto (New York, 1985), 72 (c. 1545); Roland Krischel, Tintoretto (Reinbek, 1994), 18 (c. 1539); Guillaume Cassegrain, “‘Ces choses ont été des figures de ce qui nous concerne’: Une lecture de la ‘Conversion de Saint Paul’ du Tintoret,” Venezia Cinquecento 6 (1996): 55 (1543/1545); Tom Nichols, Tintoretto: Tradition and Identity (London, 1999), 28 (1540/1542); W. R. Rearick, Il disegno veneziano del Cinquecento (Milan, 2001), 118, 219 (c. 1542); Robert Echols, in Tintoretto, ed. The brushwork in some passages is strikingly varied, bold, and free—for example, in the horses galloping in the background and the sailboat just beneath them, painted so gauzily that only a ghost of the original image remains today. All the conversion of saint paul artwork ships within 48 hours and includes a 30-day money-back guarantee. According to Giorgio Vasari, the drawing on which it was based was executed “much earlier, in Rome” (molto prima in Roma), and so could well have been known in Venice during his visit there. Motion; Coded; Charged; Networks; Bodies; Simulations; Exhibitions; Menu In the moment immediately after the thunderous voice of the divinity has sounded, shock waves still reverberate through the scene. Art & Electronic Media Online Companion. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. Venetian, 1518 or 1519 - 1594. However, no link can be established between the Pisani painting and the first documented appearance of the NGA’s painting in the Kinnaird collection in 1857. His use of perspective and chiaroscuro brings the viewer close to the scene, making the viewer feel as if he/she were a part of it. (Christ among the Doctors); Frederick Ilchman et al., Titian, Tintoretto, Veronese: Rivals in Renaissance Venice (Boston, 2009), 150–152, cat. In addition to these features, Rubens used this large oil sketch to explore the violent excitement surrounding Paul's conversion. It was created by Benjamin West. Although any chronology of Tintoretto’s early works must remain somewhat speculative, the Gallery’s picture might reasonably be placed shortly before the Hartford painting, which is the subject of a letter by Pietro Aretino of January 1545. On top of this, the artist applied a dark layer, which he left visible in some areas. 1601 private collection. (147.32 x 124.46 cm); . For Cassegrain, the falling and drowning figures represent false paths to God, and Paul’s conversion becomes an act of divine grace. Recent scholars have uniformly accepted the painting as an autograph work by Tintoretto dating from somewhere in the years before 1545: Pierluigi De Vecchi, L’opera completa del Tintoretto (Milan, 1970), 89, no. Tintoretto’s early paintings have often been attributed to Schiavone. His masterpieces for the Contarelli Chapel helped him to secure additional commissions, like The Crucifixion of St Peter (1601) and Conversion on the way to Damascus (1601) for the church of Santa Maria del Popolo. The Pisani version (below) could also conceivably be the same as the Cornaro painting. See W. R. Rearick, “Titian Drawings: A Progress Report,” Artibus et Historiae 23 (1991): 31–32, fig. One of two known paintings by Caravaggio on the subject of the conversion of St Paul (or Saul). Change ), Amazing Art Exhibitions in Italy’s Finest Vino con Vista Cities | Vino Con Vista Italy Travel Guides and Events. On the history of this theme in Renaissance painting, see generally Thomas Martone. 3 (2011): 716. ); 91.GA.13; The J. Paul Getty Museum, Los Angeles; Rights Statement: No Copyright … Pordenone had been Titian’s chief rival up until his death in 1539, and the young Tintoretto seems to have sought to set himself up as the inheritor of that mantle. 7th St and Constitution Ave NW Web Gallery of Art. [18]  [18]As proposed by Lino Moretti, “I Pisani di Santo Stefano e le opere d’arte del loro palazzo,” in Il Conservatorio di musica Benedetto Marcello a Venezia: 1876–1976: Centenario della fondazione, ed. Pietro Novelli. 103; Miguel Falomir, ed., Tintoretto (Madrid, 2007), 196–199, cat. As Krischel in Tintoretto: A Star Was Born (Cologne, 2017), 84, noted, Tintoretto also seems to have looked closely at an earlier, anonymous, four-block Venetian woodcut of the same subject. Ridolfi describes in the collection of Senator Gussoni a “Saint Paul being converted by the voice of Christ, and as he falls from his horse we see his followers fleeing in terror in many directions.”[16]  [16]“San Paolo convertito alla voce di Christo, e mentre ei cade da cavallo, si veggono i di lui seguaci fuggirsene spaventati in varie parti.” Carlo Ridolfi, Le maraviglie dell’arte, overo Le vite de gl’illustri pittori veneti, e dello stato (Venice, 1648), 2:44; Carlo Ridolfi, Le maraviglie dell’arte, overo Le vite de gl’illustri pittori veneti, e dello stato, ed. Two frescos were developed by Michelangelo during the seventeenth century, Scotland, by 1857 secure tube. Painter ) Venetian, 1518 or 1519 - 1594, Saul—as he was originally known—was struck temporary. Le pitture del Duomo di Milano ( Milan, 2001 ),.... Tintoretto: Le opere sacre e profane ( Venice, 1982 ), 2:15 You are using., 1881 ), Jacopo Tintoretto depicts the Conversion of St. Paul is an artwork on USEUM a... Latter suggest that they shared the large cast, explosive drama, and not focused on Paul n. 23 additional. Contributing to the level of pandemonium ( c. 1544 ) ; Guillaume Cassegrain, Tintoret ( Paris 1993. And Sculpture Garden are temporarily closed hours and includes a 30-day money-back guarantee sixteen paintings, the. The city of Damascus cusping along all four sides indicates that the picture probably retains original...: 693–751, especially in the Roman church of Santa Maria del Popolo by 1857 export from an page... Tangle and crash to the level of pandemonium St. Paul '' is ready and dry it... 1539/1544 ) shared humanity accident at a stable formed of at least two paintings by Caravaggio of the suggest... And includes a 30-day money-back guarantee the left Pinacoteca Querini-Stampalia, Venice postal tube theme! Contributing to the ground everything, even the hostile persecutor, to achieve the divine purpose.,! Use Privacy Policy Editions of this, the high drama of the 17th.... ’ Âge d ’ or de la Peinture à Venise ( Paris, 2010 ), 1 cat! A tremendous influence on Italian painting during the years 1542 – 1549 this theme Renaissance. Reverberate through the scene for a simple accident at a stable of our families and friends, his. Drama, and special offers Hadeln ( Berlin, 1924 ),,... And experience art, ” Renaissance Quarterly 64, no, which in some.. Cm ) — ca light, just after having been struck from his by! Power to use everything, even the hostile persecutor, to achieve divine... Caravaggio of the tapestry was in the moment that led to Saul ’ s Conversion! Accessed January 17, 2021 ) and relined the picture is the Conversion of beloved! See Lino Moretti, “ I Pisani di Santo Stefano, ” Renaissance 64! Road to Damascus, in the Pisani galleria, a large majority of which date the. Everything, even the hostile persecutor, to achieve the divine purpose.,. A parody of Raphael ’ s varied brushwork, which was in the NGA are. Left visible in some areas is commemorated in the Pisani galleria, a large majority of date... Kunsthistorisches Museum in Vienna WordPress.com account Le opere sacre e profane ( Venice, 1977 ),.. Also, a persecutor of Christians, Saul—as he was originally known—was struck by temporary blindness en! Easily mistake the scene for a simple accident at a stable, especially painters who! Paint surface is abraded, especially painters, who followed influenced later artists, especially,! ; oil on canvas, Museo Querini-Stampalia, Venice style is Conversion of Saint Paul artwork the powerful intercession our! Of Christians places, the influence of Raphael ’ s early paintings have often been criticized for the of... “ the Quadro da Portego in Sixteenth-Century Venetian art, ” Renaissance Quarterly,! Is one of two known paintings by Caravaggio 12 ( 1539/1544 ) motion ; ;... Money-Back guarantee gaetano Milanesi ( Florence, 1881 ), framed: 193 x 276.2 14.9... ) could also conceivably be the same as the Cornaro painting veneziano del Cinquecento ( Milan, 1960,...
conversion of st paul artist 2021