The Conversion of Saul Veronese (Paolo Cagliari) (1528-1588)
Veronese – The Conversion of Saul
Edit attribution
Download full size: 990×570 px (0,1 Mb)
Painter: Veronese (Paolo Cagliari)
Location: Hermitage, St. Petersburg (Эрмитаж).
Album navigation:
In the visual arts of the sixteenth century, the time of the twilight of the Renaissance, the theme of complete spiritual change was a very popular one. After the Renaissance anthem of sensuality and materiality, other times came when all this began to lose its relevance. And artists find new ideas for self-expression in accordance with the mood of society. Paolo Veronese of the Venetian school was no exception, turning to perhaps the most popular religious subject used by painters - the story of Saul. Saul is recounted in the biblical "Acts of the Apostles" - this man not only hated Christians, he tried to fight them and the teachings of Christ in every way possible.
ArtClub
Best Contemporary Atists
Description of Paolo Veronese’s painting The Conversion of Saul
In the visual arts of the sixteenth century, the time of the twilight of the Renaissance, the theme of complete spiritual change was a very popular one. After the Renaissance anthem of sensuality and materiality, other times came when all this began to lose its relevance.
And artists find new ideas for self-expression in accordance with the mood of society. Paolo Veronese of the Venetian school was no exception, turning to perhaps the most popular religious subject used by painters - the story of Saul.
Saul is recounted in the biblical "Acts of the Apostles" - this man not only hated Christians, he tried to fight them and the teachings of Christ in every way possible. One day he went to the city of Damascus, to be at the head of the persecutors of the Christians. But on the way Saul was struck by a ray of divine light that blinded him. Then he heard a voice asking why Saul was persecuting him. Shocked by all this, the former antagonist Saul disappears and is replaced by another Saul, a faithful follower of Jesus, who has since become the Apostle Paul.
The center of the composition is Saul’s horse, which has fallen to the ground. It seems as if a ray from heaven has a powerful force that scatters everything around - the trees are deflected aside as if by an explosion, horses are torn from the hands of their riders and rushed away, people are running and falling. Saul himself is prostrate on the ground, stunned by the conversion of God. His body is painted in the same perspective which Michelangelo liked to apply in his paintings.
The painting lacks the clarity, precision and deliberate theatricality of the subject which is typical of Renaissance: the characters overlap and clash with one another, and some of them are depicted only partially, as if going beyond the canvas. At the same time, the viewer is as if invited to speculate on the completeness of the picture.
All these techniques were a new word in painting at the time and represented a striking contrast to Renaissance paintings, where all the characters had their places and the place of action was clearly limited to the picture frame.
You cannot comment Why?
Around him, a group of mounted figures are depicted in varying degrees of agitation. Some appear to be urging their horses forward, while others seem startled or apprehensive, their postures reflecting the unexpected nature of the event. The horses themselves contribute significantly to the dynamism of the scene; they rear, snort, and jostle for position, adding to the overall sense of turmoil.
A brilliant light emanates from above, positioned centrally in the upper portion of the canvas. This illumination serves not only as a visual focal point but also carries symbolic weight, suggesting divine intervention or revelation. The light’s intensity contrasts sharply with the darker tones that dominate the rest of the composition, further emphasizing its significance.
The artist employed a rich palette dominated by earthy browns, reds, and ochres, which contribute to the paintings dramatic atmosphere. The brushwork is loose and expressive, adding texture and vitality to the figures and horses. Details are often blurred or indistinct, prioritizing overall impact over precise representation.
Subtly embedded within this visual narrative lies a suggestion of transformation. The fallen figure’s upward gesture, coupled with the radiant light from above, implies a shift in perspective or allegiance. The surrounding figures reactions – ranging from fear to curiosity – hint at the profound implications of this sudden event for both the individual and the group. The scene conveys not merely an incident but a pivotal moment of change, marked by disruption and divine presence.