analysis
Stylistic differences between caravaggio and vermeer
Western art was to change dramatically during, and after the events known as the Protestant Reformation and the Catholic Counter Reformation. This battle of religious ideas produced a new denomination of the Christian faith, The Protestants. The Protestants were formed through the protest of Martin Luther, who believed the Catholic Church to be corrupt. Martin Luther’s reformation was the protest against corrupted practices such as the selling of indulgences, allowing the holder to bypass purgatory after death, to pay for the rebuilding of St Peters Church. At this time, the Catholic church believed that purchasing one of these indulgences would represent a good deed, allowing any unconfessed sins to be ignored, giving the holder direct access to heaven. Luther, who believed that access to heaven was gained through faith alone, aired his 95 arguments with the Catholic Church by posting them on the door of Wittenberg Church. Luther’s theses, through the recent advancement of the printing press, were translated from Latin to German and distributed to the pope in Rome. Over the period of five years, the Protestants took over, and destroyed the religious paintings, sculpture and tapestries which lined the Catholic Churches, deeming them to be false idols. After the wave of Iconoclasm, the Catholics called a council meeting, known as the Council of Trent, which is known to be the start of the Catholic’s response to the Protestants Reformation. The Catholic Counter Reformation allowed the Church to reaffirm their doctrines, removing all corruption from the Church. The Church affirmed the need for Religious art, a way to distribute the teachings and traditions to all followers, including the illiterate, through a visual description. The images created after these events shaped the art of the Western world. The Catholics respected the need and power of devotional imagery, urging artists to clearly express religious subjects, representing them in an accessible way to encourage piety. Naturalism became a major element in religious art, used as a way to convey these guidelines, sparking the beginning of Baroque art.
The difference in religious attitudes towards art shaped the Baroque style. Religious images were to be depicted as real life, allowing viewers to sympathise and understand the message being portrayed, one of the most recognisable artists who created works of this nature was Caravaggio.
Caravaggio died young, and only created a small amount of paintings, even with a short career he is known as the most influential Italian artist of the seventeenth century. Caravaggio used an intense form of naturalism to depict his characters, corresponding with the needs of the Catholic church at this time. His scenes were dramatic, by using the chiaroscuro technique he created intense contrasts of light and dark adding drama, he used realistic light sources in his images, using highly positioned windows or cellar lighting. Caravaggio recorded the natural effects of a beam of light entering through a dark room, using tenebrism, picking out features of his characters that break the beam, the rest left in shadow. Caravaggio used a typical 17th century palette of red ochre, yellow ochre, umber, vermillion, lead tin yellow, lead white, carbon black and verdigris, all which were created through iron oxides or minerals. Caravaggio used his limited palette to it’s maximum, enhancing the chiaroscuro effect, darker colours dominated his paintings, with his lighter pigmented highlights almost jumping from the canvas. The naturalism of Caravaggio’s paintings extended to the people he depicted, he hired real life, ordinary people to pose as models for his religious characters, going as far to illustrate the dirty fingernails and feet. The scenes Caravaggio used were recognisable, emphasising the need to appear accessible and inspire devotion. Baroque paintings had an element of involvement, inviting the viewer to be part of the image, Caravaggio explored this by placing important parts of the painting at such angles that they appear to be projecting into the viewers space. Caravaggio only ever signed one painting
Dutch Baroque, or realism, carried the same naturalistic qualities as Italian Baroque. Religious artworks of a Catholic nature were banished, art in Protestant Holland differed completely to the art of Catholic Italy. Secular works flourished as a result of religious works and alter pieces having little demand. The middle social classes were dominated by Bankers and Merchants who wanted moderately sized paintings that could be hung in their homes. Dutch realism introduced a broad range of subjects; portraiture, still life, landscape and genre paintings, which corresponded with the demand for personal artwork in the home. The dutch school of realism established itself as one of the major movements in art history, signifying the start of the Dutch Golden age. The school produced some of the greatest masters of Dutch art, including Johannes Vermeer and Rembrandt.
As with Caravaggio, Vermeer lived a relatively short life, his output of painting was also minimal, possibly due to his slow working, regarded only second to Rembrandt as one of the great Dutch Masters. Vermeer, although creating extremely life like images, worked largely within the means of traditional studio techniques. Vermeer created scenes of dutch domestic life, the complete opposite to the religious works of Caravaggio. The majority of his works appear to carry the same format, one or two figures, in a seemingly plain and neutral room, the figure carrying out a normal, daily task. He almost always has a window, to the left of the painting, acting as the light source for his signature highlighting. Vermeer became a master of the technique of chiaroscuro, using it to his advantage, he carefully used his light source to shade and highlight important parts of his images, picking out details such as the light hitting the brass of chandeliers, studding of furniture and reflections on silverware. His paintings have a thick and varying textures, where he has used excess amounts of pigment, again, the opposite of Caravaggio’s smooth painterly technique. Vermeer’s works have a cool and neutral tone, mimicking the cooler climate of his hometown. Vermeer uses some similar pigments to Caravaggio, such and vermillion and lead tin yellow, employing them in a completely different way. His general palette consists of yellows, reds, grey, black, white and blue, which he uses the expensive ultra marine, often as an undercoat to emphasise visual quality. Working with this relatively small palette of colours, he creates depth, with a calm and serene mood, a lighter and less serious subject choice than Caravaggio’s works. Vermeer often liked to hide riddles and suggested narratives within his works, giving the viewer lose ends to tie up and discover meaning, due to the Catholic reformation Caravaggio’s works were simple and obvious, leaving no room for imagination and sexual desire.
Although Caravaggio and Vermeer share some of the same qualities, such as chiaroscuro and pigment choices, they differ greatly in the choice of subject. Subject choices in the 17th century were mainly a reflection of the religious and political changes. Caravaggio, predominately created Religious works, in line with the Catholic reformation, while Vermeer, living in a Protestant city, found work through creating domestic scenes and landscape paintings.
The difference in religious attitudes towards art shaped the Baroque style. Religious images were to be depicted as real life, allowing viewers to sympathise and understand the message being portrayed, one of the most recognisable artists who created works of this nature was Caravaggio.
Caravaggio died young, and only created a small amount of paintings, even with a short career he is known as the most influential Italian artist of the seventeenth century. Caravaggio used an intense form of naturalism to depict his characters, corresponding with the needs of the Catholic church at this time. His scenes were dramatic, by using the chiaroscuro technique he created intense contrasts of light and dark adding drama, he used realistic light sources in his images, using highly positioned windows or cellar lighting. Caravaggio recorded the natural effects of a beam of light entering through a dark room, using tenebrism, picking out features of his characters that break the beam, the rest left in shadow. Caravaggio used a typical 17th century palette of red ochre, yellow ochre, umber, vermillion, lead tin yellow, lead white, carbon black and verdigris, all which were created through iron oxides or minerals. Caravaggio used his limited palette to it’s maximum, enhancing the chiaroscuro effect, darker colours dominated his paintings, with his lighter pigmented highlights almost jumping from the canvas. The naturalism of Caravaggio’s paintings extended to the people he depicted, he hired real life, ordinary people to pose as models for his religious characters, going as far to illustrate the dirty fingernails and feet. The scenes Caravaggio used were recognisable, emphasising the need to appear accessible and inspire devotion. Baroque paintings had an element of involvement, inviting the viewer to be part of the image, Caravaggio explored this by placing important parts of the painting at such angles that they appear to be projecting into the viewers space. Caravaggio only ever signed one painting
Dutch Baroque, or realism, carried the same naturalistic qualities as Italian Baroque. Religious artworks of a Catholic nature were banished, art in Protestant Holland differed completely to the art of Catholic Italy. Secular works flourished as a result of religious works and alter pieces having little demand. The middle social classes were dominated by Bankers and Merchants who wanted moderately sized paintings that could be hung in their homes. Dutch realism introduced a broad range of subjects; portraiture, still life, landscape and genre paintings, which corresponded with the demand for personal artwork in the home. The dutch school of realism established itself as one of the major movements in art history, signifying the start of the Dutch Golden age. The school produced some of the greatest masters of Dutch art, including Johannes Vermeer and Rembrandt.
As with Caravaggio, Vermeer lived a relatively short life, his output of painting was also minimal, possibly due to his slow working, regarded only second to Rembrandt as one of the great Dutch Masters. Vermeer, although creating extremely life like images, worked largely within the means of traditional studio techniques. Vermeer created scenes of dutch domestic life, the complete opposite to the religious works of Caravaggio. The majority of his works appear to carry the same format, one or two figures, in a seemingly plain and neutral room, the figure carrying out a normal, daily task. He almost always has a window, to the left of the painting, acting as the light source for his signature highlighting. Vermeer became a master of the technique of chiaroscuro, using it to his advantage, he carefully used his light source to shade and highlight important parts of his images, picking out details such as the light hitting the brass of chandeliers, studding of furniture and reflections on silverware. His paintings have a thick and varying textures, where he has used excess amounts of pigment, again, the opposite of Caravaggio’s smooth painterly technique. Vermeer’s works have a cool and neutral tone, mimicking the cooler climate of his hometown. Vermeer uses some similar pigments to Caravaggio, such and vermillion and lead tin yellow, employing them in a completely different way. His general palette consists of yellows, reds, grey, black, white and blue, which he uses the expensive ultra marine, often as an undercoat to emphasise visual quality. Working with this relatively small palette of colours, he creates depth, with a calm and serene mood, a lighter and less serious subject choice than Caravaggio’s works. Vermeer often liked to hide riddles and suggested narratives within his works, giving the viewer lose ends to tie up and discover meaning, due to the Catholic reformation Caravaggio’s works were simple and obvious, leaving no room for imagination and sexual desire.
Although Caravaggio and Vermeer share some of the same qualities, such as chiaroscuro and pigment choices, they differ greatly in the choice of subject. Subject choices in the 17th century were mainly a reflection of the religious and political changes. Caravaggio, predominately created Religious works, in line with the Catholic reformation, while Vermeer, living in a Protestant city, found work through creating domestic scenes and landscape paintings.
bibliography
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Brandon, Pepijn. (2007) The Dutch Revolt: A Social Analysis. At. http://isj.org.uk/the-dutch-revolt-a-social-analysis/ (Accessed on 24.09.15)
Chilvers, Ian. (2009) 'Caravaggio, Michelangelo Merisi da' definition. In: Oxford
Dictionary of Art and Artists. 4th ed. United States: Oxford University Press.
Chilvers, Ian. (2009) 'Vermeer, Jan' definition. In: Oxford Dictionary of Art and
Artists. 4th ed. United States: Oxford University Press.
Encyclopaedia of Art Education. (s.d) The Milkmaid, Jan Vermeer: Analysis, Interpretation. At: http://www.visual-arts-cork.com/famous-paintings/milkmaid.htm (Accessed on: 19.09.15)
Essential Vermeer. (s.d) The Milkmaid by Johannas Vermeer. At: http://www.essentialvermeer.com/catalogue/milkmaid.html#.VhEVisZZEUU (Accessed on 20.09.15)
Essential Vermeer. (s.d) Vermeer's Painting Technique: A Five Part Study. At: http://www.essentialvermeer.com/technique/technique_overview.html#.VhD2PsZZEUV (Accessed on 20.09.15)
Essential Vermeer. (s.d) Vermeer's Painting Technique. At: http://www.essentialvermeer.com/technique/technique_overview.html#.VhEPQMZZEUV (Accessed on 20.09.15)
Farthing, Stephen. (2014) Art The Whole Story. Reprint ed. UK: Thames and Hudson.
Hall, James. (2008) Dictionary of Subjects and Symbols in Art. 2nd ed. USA: Westview Press.
Harris, Jonathan. (2008) Art History The Key Concepts. Reprint ed. USA/Canada: Routledge.
History of Art Study Guide. (s.d) Baroque. At: http://www.ruf.rice.edu/~fellows/hart206/baroque.htm (Accessed on 21.09.15)
Janvermeer.org. (s.d) The Milkmaid, 1658 by Jan Vermeer. At: http://www.metmuseum.org/toah/hd/milk/hd_milk.htm (Accessed on 21.09.15)
Khan Academy. (s.d) An Introduction to the Protestant Reformation: Martin Luther (2 of 4) Speakers: Dr. Steven Zucker & Dr. Beth Harris. At: https://www.khanacademy.org/humanities/renaissance-reformation/protestant-reformation1/v/introduction-to-the-protestant-reformation-luther-2-of-4 (Accessed on 26.09.15)
Khan Academy. (s.d) Introduction to the Protestant Reformation: Setting the stage (part1) At: https://www.khanacademy.org/humanities/renaissance-reformation/protestant-reformation1/v/protestant-reformation-1 Speakers: Dr. Beth Harris, Dr. Steven Zucker. (Accessed on 26.09.15)
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Metmuseum.org. (2009) Johannes Vermeer (1632–1675) and The Milkmaid. At: http://www.metmuseum.org/toah/hd/milk/hd_milk.htm (Accessed on 20.09.15)
Murray, Peter & Murray, Linda. (1997) 'Caravaggio, Michelangelo Merisi da' definition. In: Penguin Dictionary of Art and Artists. 7th ed. London: Penguin.
Murray, Peter & Murray, Linda. (1997) 'Vermeer, Jan' definition. In: Penguin Dictionary of Art and Artists. 7th ed. London: Penguin.
National Gallery of Art. (s.d) Caravaggio’s the taking of christ. At: https://www.nga.gov/exhibitions/caravbr-4.shtm (Accessed on 24.09.15)
National Gallery. (s.d) Vermeer's Palette. At: http://www.nationalgallery.org.uk/paintings/research/meaning-of-making/vermeer-and-technique/vermeers-palette (Accessed on 20.09.15)
Newall, Diana & Pooke Grant. (2008) Art history the basics. USA/Canada: Routledge
O’Hanlon, George. (2013) Caravaggio and the Baroque Palette. At: http://www.naturalpigments.com/art-supply-education/caravaggio-baroque-color-palette/ (Accessed on 26.09.15)
Rideal, Liz. (2014) How to read paintings: A crash course in meaning and method. London: Bloomsbury Visual Arts.
Rijksmuseum. (s.d) The Milkmaid, Johannas Vermeer. At: https://www.rijksmuseum.nl/en/collection/SK-A-2344 (Accessed on: 20.09.15)
Spaans, Erik. (2013) Rijksmuseum Guide. Holland: Rijksmuseum.
Zuffi, Stephano. (2012) Colour in art. Belgium: Ludion.