“The Denial of St. Peter” by Caravaggio Essay

The elements most abundant in this piece are that of colour. visible radiation and shadow. and infinite. These are the primary elements most evident. though other elements are present in the picture every bit good. This peculiar piece is non so concerned with integrating background into stating the narrative. as it is blurred and slightly distorted. The concentration of the piece is directed to the figures presented in the picture and the narrative being depicted.

The usage of visible radiation and shadow are what catches the viewer’s oculus foremost as the face of St. Peter and the adult female are illuminated by what is said to be a hearth in the background. though non in position. This consequence gives the thought that these are the two most of import figures in the picture and the narrative revolves around these two figures. The figure of the soldier seems to be comparatively less of import due to the fact that the evident hearth merely illuminates the dorsum of the armour of which he is have oning.

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The item of the soldier’s face is hidden in his ain shadow and is merely outlined by the brooding visible radiation from the face of the adult female. further showing his importance. The light AIDSs in the relation of the narrative as one can see that the woman’s eyes are confronting the soldier while she points at St. Peter bespeaking that she is stating the soldier of St. Peter’s misdoings. The light plants to demo the look on St. Peter’s face. as he appears to be supporting himself against the accusal being made.

The usage of colour establishes the temper and represents the figures character. Jointly. the colourss used are dark. apparently stand foring mild silence or distinctness. or melancholy. This usage of dark colourss surrounds the three characters and incorporates the aforesaid emotions into the narrative being told. The colourss on the figures themselves seem to expose the nature of the characters being depicted. The soldier contains a fiery red on his arm and dark brown and black on his armour. likely representative of his violent or aggressive nature. The adult female is veiled with white around her face and shoulders. possibly to demo that she is pure hearted. honest. and principled. St. Peter’s figure is filled with bluish and white possibly to demo his honest nature every bit good.

These contrasting sunglassess of colour aid to convey the image into focal point.

Finally. infinite sharpens the viewer’s focal point and directs attending to the affair at manus. As stated antecedently. the background is blurred and distorted conveying one’s attending to the item of the figures contained in the picture. Due to the fact that the figures occupy about all of the picture. the spectator is someway involved with what is go oning. One may about experience as if he or she is the 4th informant of the accusals against St. Peter. What makes this possible. which is besides so cagey about Caravaggio’s piece is that it is so graphic in that it replicates how the human oculus focal points on something.

For illustration. if one has a conversation with another individual. one may detect that the background is blurred due to the concentration on that individual and merely the trunk is in position. The same consequence is present in the picture. which involves the spectator. The picture is non needfully cramped. because the background is virtually free of possessing any objects such as furniture. tabular arraies. etc. Alternatively. one gets the feeling of an unfastened room or country but an utmost intimacy to the figures.

When all these elements are combined. the spectator becomes engulfed by the picture and apart of the narrative being depicted. Immediately. one is drawn to the adult female and St. Peter as the visible radiation from the hearth illuminates their facial looks. The colour of the background and the figures besides demand attending as the temper is set and the character of the figures is revealed. Finally. infinite brings all the elements together and restrict the spectator into “The Denial of St. Peter. ”


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