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Caravaggio, Crucifixion of Saint Peter

Video transcript

we're in santa maria del popolo in rome looking at one of the great cutter versions of the Baroque this may actually be my favorite Caravaggio so I think I said that about the last time that they have this is the crucifixion of st. Peter you know we talk about the diagonals of the baroque and the sense of action in the momentary but Caravaggio just makes that thing so pedestrian it's such an activated complex set of movements and and Windham and Hazen and gravity peel is this intense role very very very powerful feeling of the pull of gravity but what gets me is either guy Roger went out to the street and got a guy he's a real powerful intense figure he looks really grabby just the way Peter should be now the story of course is BS to be crucified not the way the price that's right so so I'm turning the cross upside down right I mean a before and kind of messy and not idealized at all now this is in such contrast oh my god answer me I hand a bar around well that's what Caravaggio so known for it's all the pomp and ceremony of Rome of the Catholic Church it's here turned on its head by Caravaggio think about this in contrast of medieval traditions where there's no sense of gravity no sense or no sense of physicality and we're really seeing the ramifications and the Renaissance but but brought into the Baroque era with a kind of intense emotionalism and physicality that even puts the Renaissance to show yeah oh and shoved in your face the guy who's lifting the cross he's got all the way under it and is hosting it with his back we see his butt in our face well he is this notion of the dirty feet that's right Atmos notion of really pushing out past the picture plane into our faces absolutely into the spin and look at the diagonal of Peters as his feet come towards us yeah you're absolutely right it breaks out into our world right and in fact the cross as it moves out into our space by his feet gives us a very close-up view of the nails there's a kind of way that it gets you in your body so that you almost go oh yeah there's all yes all this little bit the nail through his hands all very very real and descriptive and the way that there's that black background because light is really emphasizing what you're talking about when was the knees protrude the way in which the body sort of pushed forward all of that is highly controlled by the way that the light is bright here not on his abdomen the journey away karate look very normal like you know the regular man's body so different than the kinds of bodies were used to seeing that's just it's true although there is a kind of heroic ISM here in terms of its mass and its strength but it's only expressed as root a little bit by the face though yeah which is ov owner it's true there is this kind of incredible tension because you're right all the forces of nature play here and we're not quite sure if that rope is strong enough we're not quite sure if those manic or strong right it may just fall may another thing could collapse absolutely is this kind of sense of transience in the momentary and sort of human frailty that's right in a sense carwashes brilliance is to be able to create this sense of newness and freshness and as if as if this hadn't been rehearsed hundreds of times in paintings for hundreds of years yeah it is it's like it's as if it's the first time yeah you