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David Vence A Goliat Caravaggio

Una dcada ms tarde, el cardenal Scipione encarga de realizar una estatua con David en el momento de lanzar la piedra a Goliat. Bernini was far from suffering the same anxieties as his former teacher, and he saw David's act as a triumph of the human spirit expressed through the heroic efforts of a magnificent human body. Referencias [editar]

Goliath's visage was initially shown by Caravaggio as wild-eyed open-mouthed horror, tongue rolling, and eyes swiveling to the rims of the sockets[citation required]. The hyperbole is gone in the completed painting: the drama has been moved from Goliath to the calmly competent David, his face nearly covered, concentrated on his task with his hands in his adversary's hair, squatting almost casually on the man's chest. This picture, along with two others completed about the same time, the first rendition of the Sacrifice of Isaac and the first John the Baptist, were sent to Spain soon after they were completed, where they were widely reproduced and had a lasting influence on Spanish art. [Citation required]

Caravaggio takes a step closer to pure tenebrism in this work. The background is smooth, almost black, in contrast to the lgica of the ancdota that occurs throughout the day. This effect emphasizes the drama of the stage. Simply said, beauty is associated with good (David is an efebo) and fear is associated with evil (Goliath), as well as representing the defeat of evil forces (protestantism) over good (catolicismo).

Caravaggio painted his Salom in Npoles in 1607, after mastering his extraordinary technique. It is a late purchase by the virrey of Npoles, Garca de Avellaneda y Haro, second conde of Castrillo, who also brought the Eccehomo to Spain. The likelihood is that they came from the same lot. Leticia Ruiz explains that the conde acquired them using the so-called secret expenditures, money from the Crown used to acquire works of art for Felipe IV's palaces and to exercise cultural diplomacy. This room demonstrates how Caravaggio revolutionized painting. There is no spinal column that balances the two sides of the lienzo; it disrupts the notion of volmenes, creates a very teatral space to the right, and alters the sense of composition, light, and the naturalness of the figures. It's pure Caravaggio, says Ruiz of a work documented in the Castrillo inventario in 1657 and held in the Royal Collections since 1666.

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