Naturalism In Baroque Art
The Baroque style of art emerged during a tumultuous period of religious and political change (Carl and Charles 2012). During the 16th century, rival religious beliefs weakened the power of Catholic dogma and papal authority across Europe. As a result, the Counter-Reformation sought to make institutional reforms, and reinvigorate the mystical and evangelical ideals of Catholic theology (Mullett 2002). These reforms included strict guidelines on the purpose and content of religious artworks. The Baroque style displayed emotional intensity through naturalism and theatre, and therefore appealed to the artistic ideals of these reforms (Zirpolo 2010). One of the most prominent artists of the Baroque period was Michelangelo Merisi da Caravaggio who
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The image is a dramatization of the moment Jesus reveals himself to his disciples after his resurrection, before disappearing from their sight (Luke 24: 30-31). It displays all of the emotional intensity and theatre required of a religious image of that time. Christ reveals himself as he raises his arm to bless the bread, with his figure illuminated by an indeterminate source of light (Harris 2010). This extreme use of chiaroscuro focuses the viewer’s attention on Christ and his two disciples. Christ’s right arm is dramatically foreshortened, reaching out and bringing the viewer into the scene. His two disciples are watching on with in astonishment, while the innkeeper is oblivious. Unusually, they are depicted as average townspeople and are perhaps the very same people who the image was intended. The disciple to his left has theatrically outstretched his arms symbolising Jesus on the cross, hence creating another invitation to participate. Caravaggio depicts the most dramatic moment of the biblical passage thereby heightening the emotional response and reasserting the idea of Catholic piety in the viewer (Harris
The image is a dramatization of the moment Jesus reveals himself to his disciples after his resurrection, before disappearing from their sight (Luke 24: 30-31). It displays all of the emotional intensity and theatre required of a religious image of that time. Christ reveals himself as he raises his arm to bless the bread, with his figure illuminated by an indeterminate source of light (Harris 2010). This extreme use of chiaroscuro focuses the viewer’s attention on Christ and his two disciples. Christ’s right arm is dramatically foreshortened, reaching out and bringing the viewer into the scene. His two disciples are watching on with in astonishment, while the innkeeper is oblivious. Unusually, they are depicted as average townspeople and are perhaps the very same people who the image was intended. The disciple to his left has theatrically outstretched his arms symbolising Jesus on the cross, hence creating another invitation to participate. Caravaggio depicts the most dramatic moment of the biblical passage thereby heightening the emotional response and reasserting the idea of Catholic piety in the viewer (Harris