The taking of christ
Caravaggio focuses on the culminating moment of Judas' betrayal, as he grasps Christ and delivers his treacherous kiss.
Much of the credit for verifying the authenticity of this painting belongs to Francesca Cappelletti and Laura Testa, two graduate students at the University of Rome. The fleeing disciple in disarray on the left is St John the Evangelist. Sir Denis Mahon , who had in authenticated the Dublin version, in stated that the Sannini version was Caravaggio's original, but that the Dublin version was a copy by Caravaggio himself. Only the moon lights the scene. The painting was stolen from the museum in and found in Germany. Description[ edit ] There are seven figures in the painting: from left to right they are John , Jesus , Judas , three soldiers the one farthest to the right barely visible in the rear , and a man holding a lantern to the scene. From the moment his talent was discovered, he swiftly became the most famous painter of his time in Italy, as well as a source of inspiration for hundreds of followers throughout Europe. Offering a new visual approach to the biblical story, Caravaggio placed the figures close to the picture plane and used a strong light-and-dark contrast, giving the scene an extraordinary sense of drama.
The flight of the terrified John contrasts with the entrance of the artist; scholars claim that Caravaggio is making the point that even a sinner one thousand years after the resurrection has a better understanding of Christ than does his friend.
Only the moon lights the scene: although the man at the far side is holding a lantern, it is in reality an ineffective source.
Sannini version: putative original[ edit ] A version owned by the Sannini family of Florence came to the attention of Roberto Longhi inwho considered it a copy. The Taking of Christ was painted by Caravaggio for the Roman Marquis Ciriaco Mattei at the end ofwhen he was at the height of his fame.
Marie Lea-Wilson. The contrasting faces of Jesus and Judas, both placed against the blood-red drapery in the background, imbue the painting with great psychological depth.
The main light source is not evident in the painting but comes from the upper left; the lesser light source is the lantern held by the man at the right believed to be a self-portrait of Caravaggio; also, presumably, representing St Peterwho would first betray Jesus by denying him, and then go on to bring the light of Christ to the world.
At the center of the composition, the first soldier's cold shining armor contrasts with the vulnerability of the defenseless Christ.
Supper at emmaus
The figures are arrayed before a very dark background, in which the setting is obscured. All emphasis is directed on the action perpetrated by Judas and the Temple guards on an overwhelmed Jesus, who offers no resistance to his destiny. Two of the more puzzling details of the painting are, one, the fact that the heads of Jesus and St. They are standing, and only the upper three-quarters of their bodies are depicted. At the far left, a man St John is fleeing; his arms are raised, his mouth is open in a gasp, his cloak is flying and being snatched back by a soldier. The painting represents Jesus Christ being captured in the Garden of Gethsemane by soldiers who were led to him by one of his disciples, Judas Iscariot. Caravaggio focuses on the culminating moment of Judas' betrayal, as he grasps Christ and delivers his treacherous kiss. John seem to visually meld together in the upper left corner, and, two, the fact of the prominent presence, in the very center of the canvas and in the foremost plane of the picture, of the arresting officer's highly polished, metal-clad arm. Judas has just kissed Jesus to identify him for the soldiers.
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