Caravaggio crucifixión de san pedro

Caravaggio crucifixión de san pedro

Cross of saint peter

The Crucifixion of Saint Peter (Italian: Crocifissione di san Pietro) is a work by Michelangelo Merisi da Caravaggio, painted in 1601 for the Cerasi Chapel of Santa Maria del Popolo in Rome. Across the chapel is a second Caravaggio work depicting the Conversion of Saint Paul on the Road to Damascus (1601). On the altar between the two is the Assumption of the Virgin Mary by Annibale Carracci.

The two lateral paintings were commissioned in September 1600 by Monsignor Tiberio Cerasi, Treasurer-General to Pope Clement VIII who purchased the chapel from the Augustinian friars on 8 July 1600 and commissioned Carlo Maderno to rebuild the small edifice in Baroque style.[1] The contract for the altarpiece with Carracci has not been preserved but it is generally assumed that the document had been signed somewhat earlier, and Caravaggio had to take into consideration the other artist’s work and the overall iconographic programme of the chapel.[2] Cerasi nourished a deep devotion towards Saint Peter and Paul, and invoked them in his will. Together the two saints represented the foundation of the Catholic Church, and they were called the Princes of the Apostles. Both had a strong connection to the city of Rome and the papacy. Caravaggio’s paintings were thus intended to express Cerasi’s attachment to the Church of Rome and his closeness to papal power. Their position in the chapel was important but the devotional focus was still on the Assumption of the Virgin Mary on the altar in the middle. The juxtaposition of the two scenes had a well-known precedent in the frescos of the Capella Paolina at the Apostolic Palace (1542–1549) but the paintings of Caravaggio were starkly different from the crowded Mannerist scenes of Michelangelo.

crucifixion of st peter painting

The Crucifixion of Saint Peter (Italian: Crocifissione di san Pietro) is a work by Michelangelo Merisi da Caravaggio, painted in 1601 for the Cerasi Chapel of Santa Maria del Popolo in Rome. Across the chapel is a second Caravaggio work depicting the Conversion of Saint Paul on the Road to Damascus (1601). On the altar between the two is the Assumption of the Virgin Mary by Annibale Carracci.

The two lateral paintings were commissioned in September 1600 by Monsignor Tiberio Cerasi, Treasurer-General to Pope Clement VIII who purchased the chapel from the Augustinian friars on 8 July 1600 and commissioned Carlo Maderno to rebuild the small edifice in Baroque style.[1] The contract for the altarpiece with Carracci has not been preserved but it is generally assumed that the document had been signed somewhat earlier, and Caravaggio had to take into consideration the other artist’s work and the overall iconographic programme of the chapel.[2] Cerasi nourished a deep devotion towards Saint Peter and Paul, and invoked them in his will. Together the two saints represented the foundation of the Catholic Church, and they were called the Princes of the Apostles. Both had a strong connection to the city of Rome and the papacy. Caravaggio’s paintings were thus intended to express Cerasi’s attachment to the Church of Rome and his closeness to papal power. Their position in the chapel was important but the devotional focus was still on the Assumption of the Virgin Mary on the altar in the middle. The juxtaposition of the two scenes had a well-known precedent in the frescos of the Capella Paolina at the Apostolic Palace (1542–1549) but the paintings of Caravaggio were starkly different from the crowded Mannerist scenes of Michelangelo.

crucifixion of st peter story

The Crucifixion of Saint Peter (Italian: Crocifissione di san Pietro) is a work by Michelangelo Merisi da Caravaggio, painted in 1601 for the Cerasi Chapel of Santa Maria del Popolo in Rome. Across the chapel is a second Caravaggio work depicting the Conversion of Saint Paul on the Road to Damascus (1601). On the altar between the two is the Assumption of the Virgin Mary by Annibale Carracci.

The two lateral paintings were commissioned in September 1600 by Monsignor Tiberio Cerasi, Treasurer-General to Pope Clement VIII who purchased the chapel from the Augustinian friars on 8 July 1600 and commissioned Carlo Maderno to rebuild the small edifice in Baroque style.[1] The contract for the altarpiece with Carracci has not been preserved but it is generally assumed that the document had been signed somewhat earlier, and Caravaggio had to take into consideration the other artist’s work and the overall iconographic programme of the chapel.[2] Cerasi nourished a deep devotion towards Saint Peter and Paul, and invoked them in his will. Together the two saints represented the foundation of the Catholic Church, and they were called the Princes of the Apostles. Both had a strong connection to the city of Rome and the papacy. Caravaggio’s paintings were thus intended to express Cerasi’s attachment to the Church of Rome and his closeness to papal power. Their position in the chapel was important but the devotional focus was still on the Assumption of the Virgin Mary on the altar in the middle. The juxtaposition of the two scenes had a well-known precedent in the frescos of the Capella Paolina at the Apostolic Palace (1542–1549) but the paintings of Caravaggio were starkly different from the crowded Mannerist scenes of Michelangelo.

the crucifixion of st peter caravaggio analysis

Crucifixión de San Pedro (en italiano, Crocifissione di San Pietro) es una obra maestra del pintor italiano Caravaggio. Está realizado al óleo sobre lienzo y tiene unas dimensiones de 230 centímetros de alto por 175 de ancho. Fue pintada para la capilla Cerasi de la iglesia de Santa María del Popolo de Roma, Italia.

Los santos Pedro y Pablo, juntos representan los cimientos de la iglesia católica,[1]​ Pedro sería la «roca» sobre la que Cristo declaró que se erigiría su iglesia (Evangelio de Mateo 16:18), y Pablo quien fundó la sede de la iglesia en Roma. Las dos pinturas de Caravaggio pretenden pues simbolizar la devoción de Roma (y de Cerasi) a los príncipes de los apóstoles en esta iglesia que dominaba la gran plaza dando la bienvenida a los peregrinos que entraban en la ciudad desde el norte, representando los grandes temas de la Contrarreforma de la conversión y el martirio y sirviendo como una potente propaganda en contra de las amenazas gemelas de los relapsos y el protestantismo.

Caravaggio crucifixión de san pedro on line

Acerca del autor

admin

Ver todos los artículos