Marilyn Stokstad's Art History: Michelangelo Merisi
July 18, 1610: Porto Ercole, Italy. The ports and city on the northeastern shore of the Tuscan city remained under Spanish jurisdiction. Two days prior, a man whom resembled a Spanish outlaw, was arrested and imprisoned upon arrival in the port. Authorities were unable to identify the man's true identity because his real identity was also that of a convicted outlaw, Michelangelo Merisi. Some time before he was released from the jail, Merisi contracted malaria and it would claim his life on this day. Merisi, known throughout Europe as simply "Caravaggio" (after the city he was from), was not just a murderer on the run; Caravaggio was a famous artist, made infamously popular by his paintings of graphic and sometimes violent biblical scenes.
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As defined in Marilyn Stokstad's Art History, the camera obscura is an early developed camera-like device used mostly in the Renaissance. Later it would be used widely for recording images from nature. Construction and operation of the camera was fairly simple: beginning with a dark room or box, a hole would allow light in from one side of the room. The camera then operates by flashing a bright light through the opening (and occasionally passing through a lens). An inverted image of an object from outside of the camera would then be cast onto the inside wall of the box or room allowing the operator to duplicate the exact image being projected (11). Although there are no specific documents confirming or disconfirming that Caravaggio traced images from the camera for use in his master works, historians and artists of the present have found disputable evidence that the great masters of the Italian Reniassance may have in deed utilized convex lens technology. …show more content…
Gentileschi, Artemisia. Judith and her Maidservant, 1612-1613, 1625. Galleria Palatina (Palazzo Pitti), Florence.
3. Harr, Jonathan. The Lost Painting: The Quest for a Caravaggio Masterpiece. Random House, 2005.
4. Merisi, Michelangelo (Caravaggio). David with the Head of Goliath, 1607 or 1609-10. Borghese Gallery, Rome.
5. Merisi, Michelangelo (Caravaggio). The Taking of Christ, 1602. National Gallery of Ireland, Dublin.
6. Moir, Alfred. Caravaggio. New York, Harry N. Abrams, Inc. 1982.
7. Prose, Francine. Caravaggio: Painter of Miracles. Eminent Lives, 2005.
8. Robb, Peter. M: The Man Who Became Caravaggio. Picador, 2001.
9. Seward, Desmond. Caravaggio: A Passionate Life. William Morrow & Company; 1st ed edition, 1998.
10. Steadman, Phillip. "Vermeer and the Camera Obscura." BBC.co.uk/history (2002). Art Full Text Online. Gund Library, Cleveland, OH. March 20, 2006. http://www.bbc.co.uk/history/society_culture/art/vermeer_camera_01.shtml.
11. Stokstad, Marilyn. Art History. Pearson Education, Inc. Upper Saddle River, NJ: Prentice- Hall, 2005.
12. Van Eyck, Jan. The Arnolfini Portrait, 1434. National Gallery, London.
13. Vermeer, Johannes. Officer and Laughing Girl, 1658-60. Frick Collection, New York
As defined in Marilyn Stokstad's Art History, the camera obscura is an early developed camera-like device used mostly in the Renaissance. Later it would be used widely for recording images from nature. Construction and operation of the camera was fairly simple: beginning with a dark room or box, a hole would allow light in from one side of the room. The camera then operates by flashing a bright light through the opening (and occasionally passing through a lens). An inverted image of an object from outside of the camera would then be cast onto the inside wall of the box or room allowing the operator to duplicate the exact image being projected (11). Although there are no specific documents confirming or disconfirming that Caravaggio traced images from the camera for use in his master works, historians and artists of the present have found disputable evidence that the great masters of the Italian Reniassance may have in deed utilized convex lens technology. …show more content…
Gentileschi, Artemisia. Judith and her Maidservant, 1612-1613, 1625. Galleria Palatina (Palazzo Pitti), Florence.
3. Harr, Jonathan. The Lost Painting: The Quest for a Caravaggio Masterpiece. Random House, 2005.
4. Merisi, Michelangelo (Caravaggio). David with the Head of Goliath, 1607 or 1609-10. Borghese Gallery, Rome.
5. Merisi, Michelangelo (Caravaggio). The Taking of Christ, 1602. National Gallery of Ireland, Dublin.
6. Moir, Alfred. Caravaggio. New York, Harry N. Abrams, Inc. 1982.
7. Prose, Francine. Caravaggio: Painter of Miracles. Eminent Lives, 2005.
8. Robb, Peter. M: The Man Who Became Caravaggio. Picador, 2001.
9. Seward, Desmond. Caravaggio: A Passionate Life. William Morrow & Company; 1st ed edition, 1998.
10. Steadman, Phillip. "Vermeer and the Camera Obscura." BBC.co.uk/history (2002). Art Full Text Online. Gund Library, Cleveland, OH. March 20, 2006. http://www.bbc.co.uk/history/society_culture/art/vermeer_camera_01.shtml.
11. Stokstad, Marilyn. Art History. Pearson Education, Inc. Upper Saddle River, NJ: Prentice- Hall, 2005.
12. Van Eyck, Jan. The Arnolfini Portrait, 1434. National Gallery, London.
13. Vermeer, Johannes. Officer and Laughing Girl, 1658-60. Frick Collection, New York