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Briefing Doc: Caravaggio’s The Conversion of Saint Paul

This document provides an analysis of Caravaggio’s The Conversion of Saint Paul on the Road to Damascus (1601), located in the Cerasi Chapel of Santa Maria del Popolo in Rome. It explores the history of the commission, a description of the painting, its stylistic analysis, and its critical reception.

History of the Commission

In September 1600, Monsignor Tiberio Cerasi, the Treasurer General for Pope Clement VIII, commissioned two side panels for the recently acquired Cerasi Chapel. Caravaggio was tasked with painting The Conversion of Saint Paul and The Martyrdom of Saint Peter, while Annibale Carracci was to create The Assumption of the Virgin for the altarpiece. The contract specified that Caravaggio must complete the works on cypress panels of specific dimensions for a fee of 400 scudi, and submit preparatory studies.

After Cerasi’s death in 1601, the paintings were completed and installed in 1605, with Caravaggio’s final payment reduced to 300 scudi. According to the biographer Giovanni Baglione (1642), Cerasi initially rejected the first versions of both paintings, which were later acquired by Cardinal Sannesio. The first version of The Conversion of Saint Paul is currently held in the Odescalchi Balbi Collection.

Description of the Work

The painting captures the moment when Saul, who would become Saint Paul, is struck by a divine light on the road to Damascus. Caravaggio diverges from the Biblical account by depicting Saul falling from his horse, blinded by the light, while hearing the voice of Jesus.

• Saul is shown lying on the ground with his eyes closed and arms raised in a posture of religious ecstasy.
• The horse moves above him, guided by an elderly groom.
• The entire scene is immersed in darkness, illuminated by an intense light that suggests the divine presence, though its source remains unseen.

Stylistic Analysis

Iconography:

Caravaggio breaks from traditional iconography by minimizing the importance of the horse and omitting the figure of Jesus. He focuses on the moment after Saul’s fall, concentrating on the profound spiritual experience.

• The inspiration for Saul’s figure likely comes from Raphael and Zuccari. The horse may have been influenced by Albrecht Dürer’s 1505 engraving The Great Horse.
• Elements in the composition, such as the groom calming the horse, may have been drawn from a woodcut attributed to Ugo da Carpi.

Tenebrism:

Caravaggio employs tenebrism, the technique of stark contrasts between light and dark, to amplify the spiritual intensity of the moment.

• The absence of a detailed background, combined with a focus on just the three figures, intensifies the emotional and dramatic impact of the conversion scene.
• The unusual positioning of the characters, especially the foreshortened body of Saul, adds visual tension and conveys movement, suggesting a dynamic moment in time.

Critical Reception

Initially, the painting received negative reviews. Giovanni Pietro Bellori (1672) criticized the work for being “devoid of action” due to its unconventional iconography. Other critics, such as Jacob Burckhardt and Roger Fry, condemned the piece for its raw realism and melodramatic composition.

However, by the mid-20th century, Caravaggio’s reputation underwent a re-evaluation, and The Conversion of Saint Paul began to be regarded as a revolutionary work in the history of religious art. Scholars like Roberto Longhi and Walter Friedlaender emphasized the painting’s spiritual power and emotional intensity.

Conclusion

The Conversion of Saint Paul by Caravaggio is a major work that demonstrates the audacity and genius of the painter. Its revolutionary style and innovative treatment of religious subject matter opened the door to new forms of artistic expression. Despite early criticism, the painting is now considered a masterpiece, continually captivating and challenging viewers.

Citations:

• “The story [of the Conversion of Saint Paul] is completely devoid of action.” – Giovanni Pietro Bellori, 1672
• “Caravaggio offered the public what may be the most revolutionary painting in the history of religious art.” – Roberto Longhi, 1952
• “These scenes are not distant spectacles, separated from the viewer. They speak directly to him, on his level.” – Walter Friedlaender, 1955

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📍Cappella Cerasi a Santa Maria del Popolo, Roma 🏛️ Laterali: Crocifissione di San Pietro e Conversione di Paolo di Caravaggio. Pala d’altare: Assunzione della Vergine di Annibale Carracci. #fyp #art #baroque #caravaggio #carracci #rome

♬ Mørke Skoger – KALANDRA