Simon Schama's Caravaggio - Movie Review Example

Caravaggio uses his artistic prowess to present himself to the authorities in a surrendering manner other than a defiant manner. He resorts to painting one of the most sarcastic pieces of work he ever did, presenting himself in the painting as the villain of peace thereby suggesting a guilty plea. His youthful life existed during the time of religious dilemma in Italy attributed to artistic symbols used by the Catholic Faithfuls in Italy (Schama 1). The fact that Catholic Faithfuls successfully shot back idolatry accusations leveled against them by the Protestants from Northern Europe offered an even better environment for Caravaggio to thrive in his yet-to-be painting career.

Caravaggio’s artistic work majorly revolved around slavish copying of surrounding phenomena while presenting them in an exactly opposite and unexpected form. For instance, he painted himself as Bacchus, the god of wine who was also a symbol of beauty and youthfulness in an opposite but similar way. His nature-twist form of art did catch attention. He got a special invitation from Maria Del Monte, a Cardinal in Rome to move into the palazzo. However, despite the struggles, recognition, and fame, Caravaggio’s life remained more or less the same. He committed murder, ended up on the wrong side of the law.

Velazquez at the National Gallery

Born in Spain in 1599, Velazquez grew up a talented man in the painting. Humbled, relatively peaceful, and benign paintings dominated his artistic choice throughout his pieces of work. His painting reflected the ancient ways of livelihood in Southern Europe. He painted taverns cum pubs, kitchens, and contrasting family pictures showing innocent faces of both old and young alike. The paintings appeared distinct than painting could be, presenting the household picture the way it ought to appear explicit (ZCZFilms 1).

Velazquez’s appreciation for the role of the family and religion in social livelihood became a major theme dominant in his paintings. The theme ranged from a painting of a pub, kitchen, humbled family members, and a portrait similar to that of the Virgin Mary. He valued his wife so much that he painted her in the image of the Virgin Mary standing merrily on a towering pedestal. In a rare scenario, Velazquez jealously painted his image, and at the same time declaring that he would not allow someone to paint his portrait.

In one of the paintings that appear to be in contrast with the rest of Velazquez’s artworks, on display is a portrait of Venus, nude and lying on the bed. The portrait seems to face away from the audience. However, from the mirror held directly in front of her, the audience can see and identify her by her face. This is a special skill incorporated by Velazquez. It hides the painting’s nude identity while giving her facial identity on the reflection side.