Sign Up Now
Get instant access to over 1 million+ study documents
OR
Already registered? click here to login
By creating your account, you agree to our terms of service, privacy policy and student honor code.
In terms of dramatic presentation, it is abundantly clear that
Michelangelo's rendering of the CONVERSION OF SAUL is far superior to that
of Caravaggio's rendering of the same painting. This superiority is based
upon several facts. First, Michelangelo has long been considered as the
quintessential genius of the Renaissance, whether in painting, sculpture or
architecture. Second, it was well-known during his lifetime that Caravaggio
cared little for the classical masters as compared to Michelangelo. Thus,
he drew bitter criticism from many of his contemporaries. One unknown
critic even went so far as to called Caravaggio "the Anti-Christ of
painting" (Horst de la Croix, 594). This view of Michelangelo's superiority
related to the CONVERSION OF SAUL can be supported by comparing several
artistic qualities of both artists.
With Caravaggio, his rendering of the CONVERSION OF SAUL was refused
on the grounds that it lacked propriety, meaning that the overall
presentation of Saul's conversion is more of an accident than a great
miracle. The young man who has obviously drunk too has fallen from his
horse, yet Caravaggio provides no indication as to who he might be. In
essence, the horse in this painting appears to be the centerpiece for our
eyes rather than Saul and his conversion. In addition, Caravaggio has "paid
no attention to the usual dignity appointed to scenes from the holy
scriptures" (Linda Murray, 156).
In contrast, the rendering of the CONVERSION OF SAUL by Michelangelo
demonstrates his tremendous sense of emotion which is presented through his
use of light and shadow. The image of Saul, unlike that in Caravaggio's
rendering, serves as the focus point and clearly defines Michelangelo's
great respect and admiration for classical motifs and the true
representation of biblical events.
Thus, the superiority of Michelangelo's CONVERSION OF SAUL is due to
his mastery of Renaissance form and style and his adherence to the use of
light and shadow which seems to be a natural prerequisite to presenting
biblical images and events as they were meant to be viewed.
BIBLIOGRAPHY
de la Croix, Horst and Richard Tansey, Revs. Gardner's Art Through the
Ages. New York:
Harcourt-Brace-Jovanovich, 1975.
Murray, Linda. The High Renaissance. New York: Random House, 1967.
The user, of course, sees a virtual service (appearing like the data is stored in certain icon), the actual storage could be anywhere, and could vary from day-to-day. This is an advantage to the overall efficiency of the system because storage resources can then be allocated rather than static (Smith, Computing Beyond the Firewall, 2010). Cloud services are any web-based application -- from calendars and contact applications to word processing,
It is not one that should be undertaken under unethical or false pretenses. If the culture is bad enough to start with that the company feels that a change is necessary then the last thing that they want to do is be unethical about it. This would do nothing but make a bad situation worse. 6. Determine the organizational structure that would best facilitate the implementation of these new practices. The
Drama [...] how drama can capture the emotions of an audience and engage participants and audience to such an extent that they may experience feelings they forgot they had and thoughts they had not yet discovered. Drama can capture an audience and make us want to know more about the playwright, but what is drama, really? Everyone has drama in their own lives, so watching dramatic presentations makes us
This is the Jealous God that Huston carries throughout his film as a representation of Godly power. This view also raises many associated questions; such as the fact that God must also have been the originator of the snake. In this section and in the others that follow it seems that the central impetus in the film is in reality a critique and an indictment of the God of the
She is both subordinate to, and a supporter of Erisbe. The continuous repetition of the same phrases also serves to weave a kind of emotional melody, one that impresses the audience with the meaning and depth of Erisbe's feelings. Laments fulfill an... integral role in the works of...Cavalli. All Cavalli's operas include at least one lament, and some of them several. Moreover, these threnodies fulfill their task admirably: they 'purge'
This brainstorming would be an imaginative exercise, as well as encourage students to work together. Then, students could present their findings to the class in the form of a dialogue. The sharing of information in the form of a play would further spur social modeling and creativity. Requiring students to imagine 'what if' scenarios enables them to illustrate that they have truly assimilated the lesson material and comprehend its