Gardners Art through the Ages A Global History

here holds Christ’s legs in the foreground), the stark use of darks and

lights, and the invitation to the viewer to participate in the scene. As

in Conversion of Saint Paul,the action takes place in the foreground.

Caravaggio positioned the figures on a stone slab the corner of

which appears to extend into the viewer’s space. This suggests that

Christ’s body will be laid directly in front of the viewer.

Beyond its ability to move its audience, Caravaggio’s composi-

tion also had theological implications. In light of the ongoing

Counter-Reformation efforts at that time, these implications cannot

be overlooked. To viewers in the chapel, the men seem to be laying

Christ’s body on the altar, which stands in front of the painting. This

serves to give visual form to the doctrine oftransubstantiation(the

transformation of the Eucharistic bread and wine into the body and

blood of Christ)—a doctrine central to Catholicism that Protestants

rejected. By depicting Christ’s body as though it were physically

present during the Mass, Caravaggio visually articulated an abstract

theological precept. Unfortunately, because this painting is now in a

museum, viewers no longer can experience this effect.

ARTEMISIA GENTILESCHI Caravaggio’s combination of

naturalism and drama appealed both to patrons and artists, and he

had many followers. One of the most accomplished was Artemisia

Gentileschi(ca. 1593–1653), whose father Orazio (1563–1639), her

teacher, was himself strongly influenced by Caravaggio. The daugh-

ter’s successful career, pursued in Florence, Venice, Naples, and

24-19Caravaggio,Entombment,from the Chapel of Pietro

Vittrice, Santa Maria in Vallicella, Rome, Italy, ca. 1603. Oil on canvas,

9  101 – 8  6  715 –– 16 . Pinacoteca, Musei Vaticani, Rome.

In Entombment,Caravaggio gave visual form to the doctrine of transub-

stantiation. The jutting painted stone slab makes it seem as if Christ’s

body will be laid on the actual altar of the chapel.

24-18Caravaggio,Calling of Saint Matthew,

ca. 1597–1601. Oil on canvas, 11 1  11  5 .

Contarelli Chapel, San Luigi dei Francesi, Rome.

The stark contrast of light and dark was a

key feature of Caravaggio’s style. Here, Christ,

cloaked in mysterious shadow and almost

unseen, summons Levi the tax collector (Saint

Matthew) to a higher calling.

Italy 661

1 ft.

1 ft.