• Research Paper on:
    Methodologies for Analyzing Caravaggio’s Works

    Number of Pages: 21


    Summary of the research paper:

    This 21 page paper provides an overview of methodologies for analyzing Caravaggio's works. This paper provides a comparative view of the methodologies that are used to study different art forms and their application. Bibliography lists 20 sources.

    Name of Research Paper File: MH11_MHCarav2.rtf

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    Unformatted Sample Text from the Research Paper:
    over others. Further, views of specific methodologies can best be understood through the integration of examples of each of the methodologies explored. The correlation between the methodologies for  assessing great works of art, including the works of Caravaggio, demonstrate the complexities involved in artistic analysis and the varied approaches used to view the works of single artists. Michelangelo  Merisi, also known as Caravaggio, created some of the most intriguing and diverse works of 17th century baroque art, and his works have been related through historical, social, iconographic, and  traditional assessment methods. Analyses of his works commonly represents a view of similar themes and the manifestation of conceptual ideas that are related both to the period in which  he created his artistry and the breadth of artistry created by other Italian artists during this period. It is beneficial, then, to consider the different perspectives on Caravaggios work  and the link between the existing literature assessing this body of work and the development of certain artistic perspectives over the course of the last 50 years.  The Function of Methodological Analysis Those who explore the foundations and critical perspectives of great art throughout history should understand that art can always serve as a means by which  social theorists and historians are able to gain some measure of understanding into a cultures ideals and belief systems. The purpose of art, the creation of art, the interpretation of  art, and the teaching of art have always been processes in which the interpreter fits into certain parameters as surely as the art work itself. Therefore, the divisions that exist  between the formats of criticism that define specific aspects of art and place value on it are clearly (if not obviously) subjective distinctions. Such distinctions then extend into the realm 

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