Michelangelo Merisi da Caravaggio’s art rejects the idea of art being about brings perfection and beauty to the world, but rather the unpleasant imperfections that are truths. He did not copy the old masters. He challenged the way painting and art was supposed to be. Caravaggio attempts to reach his audience by not having the barrier of safety in his paintings, they feel almost too close. Caravaggio portrayed saints as real regular Roman people, the kind of people and places he knew. He did not paint fantasy holy lands, but rather the drunk dives and slick street life he knew. He choose to make his paintings very emotional, they send the Christian message that even the wretched can be saved by painting wretches in his work.
His work was criticized as indent when he painted the Madonna and child as local people whose only adoration came from poor pilgrims; it was seen as treating holy material lightly. His art was never traditional; it was not set in perfect distant building full of perfected saints and gods, but rather grimy reality with an “all too human” cast of biblical characters. He did not make men into gods as was expected, but rather made gods into men that the masses could build faith on.Bernini was the first person to make sculpted marble carnal. His beautiful works convey great amounts of movements. Unlike Caravaggio, his contemporary in 17th century Rome, Bernini delivers when he says he will, is very disciplined, and does not drink. The differences show in the art. Caravaggio portrayed saints and holy scenes, as the accessible common squalor that characterized much of his own life. Bernini by contrast brought raw emotion and living motion to sculpture of saints and angels. Bernini’s work impresses by this feeling of flesh and blood he gave his marble sculptures. He also dazzles with his elaborate architecture designs, such as those of the Cornaro Chapel. Bernini became the creator of Baroque Rome in sculptures of dramatic smiling angels and saints in bliss.
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