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Collection:
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ADJUNCT MODULE A: ITALIAN ART
LocalCollection
ADJUNCT MODULE A: ITALIAN ART
Collection
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Preferred Title:
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Saint John the Baptist
Work_PrefTitle
Saint John the Baptist
Preferred Title
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Image View:
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Overall view without frame
Image_Title
Overall view without frame
Image View
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Creator:
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Michelangelo Merisi da Caravaggio (Italian painter, 1571-1610)
Agent_Display
Michelangelo Merisi da Caravaggio (Italian painter, 1571-1610)
Creator
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Location:
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repository: Musei Capitolini (Rome, Lazio, Italy) Inv. PC 239
Work_Location_Type_D isplay
repository: Musei Capitolini (Rome, Lazio, Italy) Inv. PC 239
Location
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Location Note:
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Piazza del Campidoglio, 1; Palazzo dei Conservatori, Hall of St. Petronilla
Work_LocationNotes
Piazza del Campidoglio, 1; Palazzo dei Conservatori, Hall of St. Petronilla
Location Note
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GPS:
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41.893056 12.4825
GPS
41.893056 12.4825
GPS
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Date:
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1602-1603 (creation)
Work_DateDisplay
1602-1603 (creation)
Date
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Cultural Context:
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Italian
Work_Culture
Italian
Cultural Context
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Style Period:
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Baroque
Work_StylePeriodDisp lay
Baroque
Style Period
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Work Type 1:
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painting (visual work)
Work_Worktype1
painting (visual work)
Work Type 1
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Classification:
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painting
Work_Classification
painting
Classification
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Material:
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oil paint on canvas
Work_MaterialDisplay
oil paint on canvas
Material
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Technique:
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oil painting (technique)
Work_Technique
oil painting (technique)
Technique
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Measurements:
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129 cm (height) x 95 cm (width)
Work_MeasurementDisp lay
129 cm (height) x 95 cm (width)
Measurements
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Description:
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Caravaggio was given a freer rein to pursue his experiments by a number of sympathetic and wealthy private collectors, notably Vincenzo Giustiniani, and the Roman nobleman Ciriaco Mattei. The indulgence, perhaps even encouragement, of Ciriaco and Giustiniani enabled Caravaggio to carry this polemical program one stage further, for the St. John the Baptist (with a ram, rather than the customary Lamb of God) and the Victorious Cupid are burlesques on the high-flown Platonic poetry of Michelangelo’s idealized ignudi. The St. John, however, is also the first in a succession of increasingly serious single-figure paintings of this saint, which became the vehicle for the study of the young male nude. (Source: Grove Art Online; http://www.oxfordart online.com/)
Work_Description_Sou rce
Caravaggio was given a freer rein to pursue his experiments by a number of sympathetic and wealthy private collectors, notably Vincenzo Giustiniani, and the Roman nobleman Ciriaco Mattei. The indulgence, perhaps even encouragement, of Ciriaco and Giustiniani enabled Caravaggio to carry this polemical program one stage further, for the St. John the Baptist (with a ram, rather than the customary Lamb of God) and the Victorious Cupid are burlesques on the high-flown Platonic poetry of Michelangelo’s idealized ignudi. The St. John, however, is also the first in a succession of increasingly serious single-figure paintings of this saint, which became the vehicle for the study of the young male nude. (Source: Grove Art Online; http://www.oxfordart online.com/)
Description
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Collection:
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Adjunct Module A: Italian Art
LocalCollection
Adjunct Module A: Italian Art
Collection
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Identifier:
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7A3-CV-CM-A01
Image_OriginalVendor ID
7A3-CV-CM-A01
Identifier
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Rights:
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© Scott Gilchrist, Archivision, Inc.
Image_Rights
© Scott Gilchrist, Archivision, Inc.
Rights
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