The Adoration of the Shepherds, 1609 by Caravaggio

The scene is another dark interior, cutting the beam of light from the left so that the numbers emerge from general obscurity. That job is clever but it does not get in the way. Its role is restraint, tranquility, and calm invariance.

The meaning of doctrine is underestimated. Probably putting Madonna on the ground, Caravaggio deliberately remembered the drama of "Little Middle Ages" humilitas "(humility) and" humus "(Earth). However, the humility of Madonna is self-evident. She is not paradise, but a simple and healthy young lady hugs her child just like any other mother. It also does not imply the historical significance of the shepherd as the person who first recognized Christ. Even in this hut it might be surprising to find a mother and her beautiful newborn baby, but their reaction is not to worship Our Lady and admire Christ but admire them. .

The angels did not pour into the clouds, the light from the fire did not hinder the silence, the accessories were slight and dull. A basket containing the essentials of the simple family travel of the Holy Family - buns of bread, pieces of cloth and the carpenters of Joseph - is not noticed, and its sparse emphasizes the simplicity and poverty of the family. Some theological significance may be hidden by other accessories, but they are mainly expressed in the details of still life. The building is a roughly constructed farm and it is clearly not suitable for human settlement. Traditional cattle and donkey seem to belong to this manger pet, and feed smoothly from the manger.

Still, even without Mary and Joseph's aura, that subject is unmistakable. It is normal, but there is no basic Earth composition. Caravaggio deliberately avoided any eloquence in him, because it was inconsistent with the credibility of the region of miracles in the birth miracle. In this monotonous environment, the dignity that he acknowledges to these simple people conveys his values ​​not only as a participant in this central Christian event but also as a general good general citizen I will.

In less than a year of his death, Caravaggio's 1609 Adorazione dei pastori (Shepherd's worship) is an important example of his religious-themed cruel realism, innovating and competing this famous painter I am making it powerful. As they are almost invisible in ordinary robes and Joseph's woodworking tool boxes, entrusted to Capuchin Franciscans, he represents a sacred personality as a person of barefoot age. By placing the virgin on the ground, Caravaggio means she is not a heavenly queen but a simple young mother. Shepherds admire rather than worship and convey the values ​​of their values ​​and the values ​​of their parents as civilians. There is no mysterious sacred light from the barn, luxurious aura to drive out these characters. Differences in light and shade of the scene, tranquility, and naturalism show that there is nothing obvious about the birth of Christ except for humble times.

Annibale Carracci (born in 1560, died in 1609) is a contemporary existence of Caravaggio and is considered to be the "founder" of Baroque style in Roman times. However, his work should be seen as contradictory to Caravaggio, but it is consistent with the classical principle of baroque susceptibility. Early biographers and theorists insisted that he "rescued artists from artists". He is part of the campaign initiated by Bologna Art "College". And it highlights the need for artists to deliberately return to classical sources (including antiques and high Renaissance artists). The above picture is a ceiling fresco made by Annibale Carracci in the gallery of the Farnese palace in Rome from 1513 to 1601. Mural paintings, commissioned to celebrate marriage, explain the romantic encounter of classical God

The art of Caravaggio and his supporters like such Artemisia Gentileschi are dramatic and dramatic, but some Italian 17th century artists like Annibale Carracci (1560-1609) are more classical I like painting style Studies on the Ancient Renaissance and High Renaissance. Michelangelo, Raphael, Titian painter. Carracci's most famous and challenging project is the decoration of the Palazzo Farnese gallery, the committee of the Cardinal Odo Alfredo Falese to celebrate his brother's wedding. To be fair, the ceiling image program is the love of the gods. The various scenes of the ceiling are arranged as an illusion frame easel drawn along the curved ceiling of the curve