File:Caravaggio.emmaus.750pix.jpg
Original file (1,203 × 850 pixels, file size: 173 KB, MIME type: image/jpeg)
This is a file from the Wikimedia Commons. The description on its description page there is shown below.
|
This file has been superseded by 1602-3 Caravaggio,Supper at Emmaus National Gallery, London.jpg. It is recommended to use the other file. Please note that deleting superseded images requires consent.
|
Summary
Caravaggio: Supper at Emmaus | ||||||||||||||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Artist |
artist QS:P170,Q42207 |
|||||||||||||||||||||||||||
Title | ||||||||||||||||||||||||||||
Object type | painting | |||||||||||||||||||||||||||
Genre | religious art | |||||||||||||||||||||||||||
Description | ||||||||||||||||||||||||||||
Depicted people | Jesus | |||||||||||||||||||||||||||
Date |
between 1601 and 1602 date QS:P571,+1601-00-00T00:00:00Z/8,P1319,+1601-00-00T00:00:00Z/9,P1326,+1602-00-00T00:00:00Z/9 |
|||||||||||||||||||||||||||
Medium | painting | |||||||||||||||||||||||||||
Dimensions |
height: 55 in (139.7 cm); width: 77 in (195.5 cm) dimensions QS:P2048,55U218593 dimensions QS:P2049,77U218593 |
|||||||||||||||||||||||||||
Collection |
institution QS:P195,Q180788 |
|||||||||||||||||||||||||||
Accession number |
NG172 (National Gallery) |
|||||||||||||||||||||||||||
Object history |
commissioned by Ciriaco Mattei in 1601-02 |
|||||||||||||||||||||||||||
Notes | The focal point of this picture is a beardless Jesus. Picture prepared for Wikipedia by Adrian Pingstone in April 2003. | |||||||||||||||||||||||||||
References |
|
|||||||||||||||||||||||||||
Authority file | ||||||||||||||||||||||||||||
Source/Photographer | http://www.kfki.hu/~arthp/html (Web Gallery of Art). http://en.wikipedia.org/wiki/Image:Caravaggio.emmaus.750pix.jpg |
Licensing
This is a faithful photographic reproduction of a two-dimensional, public domain work of art. The work of art itself is in the public domain for the following reason:
The official position taken by the Wikimedia Foundation is that "faithful reproductions of two-dimensional public domain works of art are public domain".
This photographic reproduction is therefore also considered to be in the public domain in the United States. In other jurisdictions, re-use of this content may be restricted; see Reuse of PD-Art photographs for details. |
Items portrayed in this file
depicts
image/jpeg
b4468bc6eeae1c2146963c173479f8273f5508da
177,375 byte
850 pixel
1,203 pixel
File history
Click on a date/time to view the file as it appeared at that time.
Date/Time | Dimensions | User | Comment | |
---|---|---|---|---|
current | 01:21, 14 August 2007 | 1,203 × 850 (173 KB) | Argento | same source but bigger |
File usage
The following 2 pages use this file:
Metadata
This file contains additional information, probably added from the digital camera or scanner used to create or digitize it.
If the file has been modified from its original state, some details may not fully reflect the modified file.
JPEG file comment | CARAVAGGIO
(b. 1571, Caravaggio, d. 1610, Porto Ercole) Supper at Emmaus 1601-02 Oil on canvas, 139 x 195 cm National Gallery, London The gospel according to St Luke (24:13-32) tells of the meeting of two disciples with the resurrected Christ. It is only during the meal that his companions recognize him in the way he blesses and breaks the bread. But with that, the vision of Christ vanishes. In the gospel according to St Mark (16:12) he is said to have appeared to them "in an other form" which is why Caravaggio did not paint him with a beard at the age of his crucifixion, but as a youth. The host seems interested but somewhat confused at the surprise and emotion shown by the disciples. The light falling sharply from the top left to illuminate the scene has all the suddenness of the moment of recognition. It captures the climax of the story, the moment at which seeing becomes recognizing. In other words, the lighting in the painting is not merely illumination, but also an allegory. It models the objects, makes them visible to the eye and is at the same time a spiritual portrayal of the revelation, the vision, that will be gone in an instant. Caravaggio has offset the transience of this fleeting moment in the tranquillity of his still life on the table. On the surfaces of the glasses, crockery, bread and fruit, poultry and vine leaves, he unfurls all the sensual magic of textural portrayal in a manner hitherto unprecedented in Italian painting. The realism with which Caravaggio treated even religious subjects - apostles who look like labourers, the plump and slightly feminine figure of Christ - met with the vehement disapproval of the clergy.
Author: CARAVAGGIO Title: Supper at Emmaus Time-line: 1551-1600 School: Italian Form: painting Type: religious |
---|