Caravaggio Analysis

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David with the Head of Goliath – Caravaggio Analysis Caravaggio, David with the Head of Goliath, 1610, Oil on canvas, 125cm x 101cm Caravaggio, David with the Head of Goliath, 1610, Oil on canvas, 125cm x 101cm Caravaggio’s David with the Head of Goliath, was created in 1600. In this artwork, Caravaggio depicts a severed head as the foreground. The face appears to be staring into darkness, speechless, its vulgar face surprised in death, agape. The middle ground consists of a regretful looking man holding the detached head by his hair. The arm is stretched forward weighing the head, his lips tight and eyes focused downwards. The man holds a sword in the other hand, offering a clue into the decapitation. The background consists of a dark room where walls are b;arely noticeable, angular lines in the top left hand corner encompasses both figures. The main elements of Caravaggio’s artwork are tone, line and form. Tone has been utilised throughout the image to depict the fall of light (or lack of) on the human figure and the drapery of clothes. The darkening of tones creates a sense of depth, and along with Caravaggio’s foreshortening of the figures’ (David) arm ensures there is a consistent sense of realistic perspective and space. The pure emotion exposed in the faces of both figures is created through Caravaggio’s use of tone and his ability to create form as a result of this. The dramatic tonal qualities enable Caravaggio to capture a sense of volume in the three dimensional form. Both figures occupy positive space appearing to pop out of the background rather than be surrounded by it. The figures appear to be solid and three dimensional, building a sculpture like realistic appearance. By doing this, Caravaggio is able to depict the figures realistically, as if the scenario was being played out right before the viewers’ eyes. The artist incorporates line

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