It represented a break with the tradition that even Caravaggio's own previous version more or less followed. It is a much brighter and more Mannerist canvas, with an angel-sustained Jesus reaching down towards a blinded Paul. 13, Friedlaender: Caravaggio Studies, pp. Della versione Odescalchi si è appena concluso il restauro Its characteristic elements were a rearing, panicked horse – although there is no mention of a horse in the Bible -, Saul lying on the ground, Jesus appearing in the sky and a retinue of soldiers reacting to the events. and other artists. This is how Taddeo Zuccari, one of the most renowned painters in Caravaggio's Rome, portrayed the scene on a large altarpiece in the Church of San Marcello al Corso around 1560. Picture painting Carracci (1560-1609). Baglione states that the first versions of both paintings were taken by Cardinal Giacomo Sannessio, but another early writer, Giulio Mancini, says that Sannessio's paintings were copies. • Analysis He had calmed down the animal, and now prevents it treading upon Saul. Although Saul gets the most light, the attention is given to him in a strange way. The full text of the article is here →, {{$parent.$parent.validationModel['duplicate']}}, en.wikipedia.org/wiki/The_Conversion_of_Saint_Paul_(Caravaggio), 1-{{getCurrentCount()}} out of {{getTotalCount()}}, https://en.wikipedia.org/wiki/The_Conversion_of_Saint_Paul_(Caravaggio). Nevertheless, most scholars are satisfied that this is the first version of the Conversion of Paul. marked a complete break from Mannerism reminders of his former identity as Saul the persecutor of Christians. • The [...] Were it not for the fact that the painting was placed on a side wall, we might wonder how Caravaggio could have had it put on public exhibition without encountering severe criticism, or even an outright rejection. La Conversione di San Paolo di Caravaggio, opera del 1600-1601 circa, rappresenta il momento in cui Paolo di Tarso si converte sulla via di Damasco. Stefania Macioce: Michelangelo Merisi da Caravaggio: fonti e documenti 1532–1724, Ugo Bozzi, 2003, doc. Well-established iconographic tradition stipulated how the Conversion of Paul should be depicted in Renaissance and Baroque art. His naturalist As he went he drew near Damascus, and suddenly a light from heaven shone around him. of Santa Maria del Popolo. style of naturalism, which "Caravaggism" Although some details and motifs may have been borrowed or inspired by these artworks, it is important to note that the pared-down composition and the intense spiritual drama of the Cerasi Conversion was a novelty without any direct iconographic precedent at the time. in Naples (1607-10) - but despite his death at the age of only 38, lived on throughout the century, influencing some of the leading Italian L a Conversione di San Paolo è una delle opere più belle del Caravaggio. converted into a Christian after Christ appeared and spoke to him on the The contract gave a free hand to the painter to choose the figures, persons and ornaments depicted in the way as he saw fit, "to the satisfaction however of his Lordship", and he was also obliged to submit preparatory studies before the execution of the paintings. For Saul this is a moment of intense religious ecstasy: he is lying on the ground, supine, eyes shut, with his legs spread and his arms raised upward as if embracing his vision. Vincit Omnia (Love Conquers All) (1602) Gemaldegalerie, Berlin. A Critical Study, McFarland & Company, Jefferson and London, 2009, p. 83, Conversion of Saint Paul by Caravaggio (Rome), Portrait of a Courtesan (Fillide Melandroni), The Conversion of Saint Paul on the Road to Damascus, Madonna of Loreto (Madonna dei Pellegrini, Pilgrims' Madonna), Madonna and Child with St. Anne (Madonna de Palafrenieri), Portrait of Alof de Wignacourt and his Page, Nativity with St. Francis and St. Lawrence, https://en.wikipedia.org/w/index.php?title=Conversion_on_the_Way_to_Damascus&oldid=971822821, Creative Commons Attribution-ShareAlike License, This page was last edited on 8 August 2020, at 12:50.
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