La vocación de San Mateo.

Painting card:

Title/name: La vocación de San Mateo.
Author: Caravaggio.
Year: 1599-1600
Style: Italian Baroque.
Technique: Oil on canvas.
Location: Church of San Luigi of French, Rome.

General description: This is a work made from Caravagio in 1599-1600 using oil in canvas.

This paint was make for Caravagio, Caravaggio was an active italian painter in Rome, Naples, Malta and Sicily between 1593 and 1610. It is considered the first grat exponent of Baroque painting.

It was the first major work that Caravaggio made, not fo a private collector, for a public access church, where all Rome could see his work.
Caravaggio must make more complex scene in terms of meanings, setting, number of characters and moments of the action.

Therefore, compared to the paintings he had been done with one or two figures, The Calling of St Matthew present seven, to be organized coherently and in depth in an architectural space that can no longer be circumvented by the painter in a sort of neutral of neutral background lost in the dark.
However, Caravaggio did not give up at all its plastic resources, and again the light is what gives structure and sets the composition of the canvas. Thus, after the figure of Christ who just enter the tavern shines a powerful spotlight. The light has come into darknesswith Christ and risp the space diagonally to go look at the figure of Matthew surprised that backtracks and points to himself it is doubtful that he who seeks. The light beam reproduces the gesture of Christ, reaching masterfully scope and symbolism.

Cristo de la agonías o cristo yacente.

Sculpture card:

Title/name: Christ of the agonies.
Author: Gregorio Fernández.
Year: 1576-1636.
Style: Spanish Baroque.
Technique: polychomed wood.
Location: National Museum of Sculpture in Valladolid, Spain.
General descript: This is a piece of sculpture maked by Gregorio Fernández between 1576-1636 made to order from Duke fo Lerma.

This work was made by Gregorio Fernández, Gregorio was a Spanish Baroque sculptor, the greatest exponent of the Spanish school of sculpture. Heir to the expressiveness of Alonso Berruguete and Juan de Juni, knew bringing these influences classicism of Pompeyo Leoni and Juan de Arfe, so that his art was freed progessively from prevailing Mannerism in his time to become one of the the paradigms of the Spanish Baroque.

This sculpture, mainly religious, of which recumbent of Christ is a clear exmaple, meant a radical break with the nuance realism of Renaissance classicism, to focus on an extraordinarily heightened drama. Its main objetive will be to promote and enhance the religiosity of the faithful trought contemplation of martyrdom and death of Jesus, the Virgin pain, scenes of the life of saints, etc, all with a poignancy without limits.

One of the most important features that has this piece of sculpture is the pathosm showing us a sense of print depicting the pain of sculpture, in this case it is perceived very well since Christ has set eyes open that allows us to recognize that sesation.