Open Access image. Tintoretto’s painting is also similar to a drawing by Pordenone of the Conversion of Saint Paul (Morgan Library and Museum, New York). The two frescos were developed by Michelangelo during the years 1542 – 1549. The Conversion of St Paul - Caravaggio - Canvas Art - Oil Paintings for Sale On the history of this theme in Renaissance painting, see generally Thomas Martone, The Theme of the Conversion of Saint Paul in Italian Paintings from the Earlier Christian Period to the High Renaissance (PhD diss., New York University, 1978; New York, 1985); see also Guillaume Cassegrain, “‘Ces choses ont été des figures de ce qui nous concerne’: Une lecture de la ‘Conversion de Saint Paul’ du Tintoret,” Venezia Cinquecento 6 (1996): 56. The Conversion Of St Paul, Detail Painting. Rodolfo Pallucchini and Paola Rossi, Tintoretto: Le opere sacre e profane (Venice, 1982), 1: cat. 22 (Supper at Emmaus). In the moment immediately after the thunderous voice of the divinity has sounded, shock waves still reverberate through the scene. See W. R. Rearick, “Titian Drawings: A Progress Report,” Artibus et Historiae 23 (1991): 31–32, fig. Web Gallery of Art. Saint Paul, Paul the Apostle Painting. overall: 152.7 × 236.3 cm (60 1/8 × 93 1/16 in. Roland Krischel, Jacopo Tintoretto, 1519–1594 (Cologne, 2000), 10, pointed out that Tintoretto’s painting seems closer in some details to the drawing than to the painting as known from copies and prints. The Conversion of St Paul, Caravaggio, 1600. Saul was on his way to Damascus, to destroy the Christian community in that city. Closed, East Building In 1679 Almorò Pisani (1615–1682) bound the paintings along with the palazzo and the rest of its contents to pass by inheritance without division according to male primogeniture. Caravaggio depicted Saint Paul at the moment of his conversion, lying on his back with his hands thrown up in the air and his eyes closed. Change ), You are commenting using your Twitter account. 2. Change ), You are commenting using your Google account. As Krischel in Tintoretto: A Star Was Born (Cologne, 2017), 84, noted, Tintoretto also seems to have looked closely at an earlier, anonymous, four-block Venetian woodcut of the same subject. The other also dates from c. 1601. [8] [8]The influence of Raphael’s cartoon for the Conversion of Saint Paul, Titian’s Battle of Spoleto (or Battle of Cadore, as it is sometimes called), and Pordenone’s compositions was noted by Wilhelm Suida, “Zwei unbekannte Werke Tintorettos,” Pantheon 23 (1939): 122, and Rodolfo Pallucchini, La giovinezza del Tintoretto (Milan, 1950), 86, and has been discussed by many subsequent scholars. Walter L. Strauss, 166+ vols. As in other works from this phase, such as the Supper at Emmaus (Szépművészeti Múzeum, Budapest) and Christ among the Doctors (Museo del Duomo, Milan), the extreme dynamism seems intended to challenge and even shock, as does the unconventional pictorial technique. The seam is located approximately one-third from the bottom of the painting and stands slightly proud of the surface. Several Leonardesque sources identified for the horses in the NGA painting are more speculative. The lighter areas of the composition were then blocked in with light-colored paint. We pray to our patron for the conversion of our families and friends, as well as for our own deepened conversion. The basic composition of the final work is already evident here, as are specific details: the dog in the lower left, the men attending the stricken Paul and the figure restraining his horse on the right. Jonathan Goldberg, The Seeds of Things: Theorizing Sexuality and Materiality in Renaissance Representations (New York, 2009), 17–30, discusses the painting as the starting point for an interpretation of the Lucretian strain in early modern painting and poetry, as well as contemporary theory. Stay up to date about our exhibitions, news, programs, and special offers. Pietro Novelli. Indeed, the whole atmosphere of explosive violence and chaotic action in Tintoretto’s picture embodies the characteristics that Pordenone brought to Venetian painting during the brief period of his ascendancy in the mid- to late 1530s. They were forced to sell their villa on the terraferma to Napoleon in 1807. In the late 18th century, the palace was restored and decorated by Almorò Alvise Pisani (1754–1808) after his marriage to Giustiniana Pisani di Santa Maria del Giglio, who brought as her dowry the possessions of that line, which was extinguished with her. The increased transparency of the paint layers over the centuries has made it evident that Tintoretto painted the figure of Saint Paul first in the nude, then added the garment on top of the nude figure (see Technical Summary). (This version is presumed to have been lost in a fire that destroyed the collection in 1638.) The Conversion of St Paul, Caravaggio, 1600. It was created by Benjamin West. 24; and W. R. Rearick, Il disegno veneziano del Cinquecento (Milan, 2001), 118, 219. In 1679 Almorò Pisani (1615-1682) bound the paintings along with the palazzo and the rest of its contents to pass by inheritance without division according to male primogeniture. St. Paul on the Road to Damascus, Aniello Falcone, c 1650. De Agostoni Picture Library / A. Dagli Orti / Bridgeman Images cannot be dated firmly, it was probably executed at roughly the same time as Tintoretto’s version. This miracle is commemorated in the Catholic church on January 25th. The origin of the paintings in the Pisani gallery, a large majority of which date from the cinquecento, is unknown. Similar Designs. A very similar figure of a horse also appears in a drawing by Pordenone of the Conversion of Saint Paul (Morgan Library and Museum, New York); see Tom Nichols, Tintoretto: Tradition and Identity (London, 1999), 30, fig. The Conversion of St Paul Michelangelo Caravaggio received a commission to create two paintings for the Cerasi Chapel in Santa Maria del Popolo; one was titled ‘The Conversion of St Paul’. © 2021 National Gallery of Art Notices Terms of Use Privacy Policy. [4] On 7 June 1954 the Kress Foundation made an offer to Contini Bonacossi for sixteen paintings, including the NGA painting. Walter L. Strauss, 166+ vols. This work is linked to Acts 9:4. 175), while Guillaume Cassegrain, “‘Ces choses ont été des figures de ce qui nous concerne’: Une lecture de la ‘Conversion de Saint Paul’ du Tintoret,” Venezia Cinquecento 6 (1996): 59, and idem., Tintoret (Paris, 2010), 12–14, proposed the horses in the background of Leonardo’s unfinished painting of the Adoration of the Magi (Uffizi, Florence). 1809. A soldier holds his hands to his head. 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