Compare and Contrast of Three Baroque Artist Pieces

The Baroque era has been defined as a "misshapen peril." Critics have explained this era as gorgeous to behold with the eyes, yet something imperfect and deliberately different about its appearance than other perils of the past. Major artists of that era such as Carvaggio, Rembrandt, and De La Tour have become three major artists that have defined the Baroque movement. Each master has used techniques and devices that have become hallmarks of that period. Those works examined in this study are "Calling of St. Matthew" by Carvaggio, Rembrandt's "Anatomy Lesson," and George De La Tour's "Adoration of the Shepherds." Comparing and contrasting three major baroque artist's works, educates and explains to the reader of the hallmarks of baroque art.

Artists of the Baroque era whether Caravaggio, Rembrandt, or De La Tour, had their unique individual style. Yet only one artist had the honor of influencing the other remaining two, and his name was Michangelo Merisi or commonly referred to as Caravaggio. Merisi coined his name Caravaggio from his hometown in Northern Italy. While the other two artists were just being born, Caravaggio had already painted several of his greatest works. In fact, the painting "Calling of St.. Matthew" was composed in 1597, which was started three years after De La Tour's birth.

"Calling of St. Matthew" demonstrates Caravaggio's extreme use of chiaroscuro. Chiaroscuro is commonly defined as "the technique of using light and shade in pictorial representation." Another example of that term would be the extreme contrast of light and dark. All three artists use Chiaroscuro on a grand scale, but with some differences. De la Tour was fascinated on how light radiates from a single source, usually from fire, to illuminate a scene. His "Adoration of the Shepherds" captures this phenomenon as one shepherd obscures the source from a single candlelight with his hand. Rembrandt, also, used this technique of light and dark contrasts with his own personal touch. When viewing many of his works, a slight haze engulfs the background. Even in "Anatomy Lesson," the background has a fuzzy quality that can only be made from his hand. Carvaggio, being the innovator of the technique, uses the technique extensively. "Calling of St. Matthew" has sharp contrasts. The figures in the painting are revealed from the dark background with an acute stroke. One figure, seated furthest from Levi, there is darkness all round of him, yet the outline of his white shirt has a razor sharp edge outline that seems to ignore the fact that is should be taken into the void of the black.

In "Calling of St. Matthew," the darkness around the composition is overwhelming at first, yet Caravaggio makes use of space that aids in the composition of the story. Instead of using ambiguous space, a hallmark of baroque art, Caravaggio incorporates a building and a window to give the scene a backdrop. On the other hand, Rembrandt's "Anatomy Lesson" does not. In Rembrandt's masterpiece, the subject matter depicted is only its subjects with no relation to the location. In this example, only the surgeon, the dissection, and his audience are shown, as the background is nonessential to the message of the painting.

Which brings another difference in all three paintings, their own unique purposes. The Baroque era had artists employed by two types of eager patrons, predominately the church and some wealthy guilds. Rembrandt, being a staunch Protestant, in his youth, was employed by popular guilds. His "Anatomy Lesson" painting was done for a surgeon's guild. The other two painters, De La Tour and Carvaggio, utilized their talents for the Catholic Church. The Catholic Church, at that time, had been busy with the Counter Reformation. Protestants, led by Martin Luther, had condemned the use of images. The Catholic Church quickly countered with ambitious commissions to give the church patrons something of awe. Both their pieces of work, "Calling of St. Matthew" and "Adoration of the Shepherds," were common religious subjects used by the Church to decorate their walls.

Whether being shepherds adoring Christ, a surgeon and his students, or St. Matthew being called to a higher duty, each artist employed the use of common people. Gone from the High renaissance before them the use of idealized people, as all three artists enlist "real" people for their canvases. Rembrandt's "Anatomy Lesson," of course, is a depiction of everyday people made to glorify that respected guild. Yet, Rembrandt did not take any artistic liberties, as his Roman Forefathers did, in their depiction of important people. The people in his work are conveyed as they are, with no false pretense or false beauty. In relation to Rembrandt's work, De La Tour in his "Adoration of the Shepherds" uses humble, patient shepherds looking upon the newborn Christ. Each figure in De La Tour's work is believable, absent is any glorification that might disparage the shepherd's true message. Carvaggio's Christ in "Calling of St. Matthew" would be almost impossible to decipher if not for his halo. Of the three, Carvaggio used everyday people the most.

Each individual on all three works have an emotion and the physical makeup of an individual can be seen on each face. Another hallmark of Baroque era is the use of emotion. Artistic movements before that time, especially Flemish art, had expressionless models. With Carvaggio and his "Calling of St. Matthew," the young Levi is depicted as a man unsatisfied and embarrassed of his position as tax collector. Rembrandt's "Anatomy Lesson" has captured look of amazement and awe on each of the student's faces. While De La Tour's "Adoration of the Shepherds," has the solemn, stern look on each gazing a glance upon the child Christ.

The composition of "Anatomy Lesson" and "Calling of St. Matthew" have similar placement of figures. Carvaggio's painting has Christ to the right of the painting pointing to the left at Levi, later to be St. Matthew, with several other spectators around him. In Rembrandt's treatment of figures in "Anatomy Lesson' is very similar. The surgeon, placed to the right, though not as extreme as Carvaggio's Christ, begins dissection of a male subject. Yet, his students are also placed to the extreme left. Both paintings have the viewers view the work right to left. That being, the main subject of the work is placed on the right hand side and the remaining lesser important figures to the left.

An understanding of these three distinct works, by Carvaggio, Rembrandt, and De La Tour, enhances the viewers' appreciation of Baroque art. Each Artist, although from a different country, produced similar images that encompassed their era. Carvaggio, the oldest of the three, was from Italy. Rembrandt, the most celebrated of the artists was Dutch. Lastly, De La Tour, the most obscure of the trio, was a Catholic living in France. No matter their geological location, or religious allegiance, each artist has created images that will be adored, reviewed, and studied for ages to come.