Roland Krischel, Jacopo Tintoretto, 1519–1594 (Cologne, 2000), 10, pointed out that Tintoretto’s painting seems closer in some details to the drawing than to the painting as known from copies and prints. Saul, a persecutor of Christians, was sent from Jerusalem to Damascus to stamp out the churches there. The Conversion of St. Paul is, judging on the basis of style, the same date as a painting by Garofalo of The Calling of St. Peter in the Borghese Gallery, Rome, and both paintings are the same size: larger and of a different format than are most of his narrative works of this type. Descriptions of the latter suggest that they shared the large cast, explosive drama, and panoramic vista of the Washington picture. Antonio Palomino de Castro y Velasco, El museo pictórico y escala óptica (Madrid, 1988), 3:235. As proposed in Rodolfo Pallucchini and Paola Rossi. 22 (Supper at Emmaus). The artist emphasized the drama and emotion of the moment by undercutting the horse's head and front leg and by carving Paul with foreshortening and in the greatest depth to suggest projection into the viewer's space. “San Paolo convertito alla voce di Christo, e mentre ei cade da cavallo, si veggono i di lui seguaci fuggirsene spaventati in varie parti.” Carlo Ridolfi, Le maraviglie dell’arte, overo Le vite de gl’illustri pittori veneti, e dello stato (Venice, 1648), 2:44; Carlo Ridolfi, Le maraviglie dell’arte, overo Le vite de gl’illustri pittori veneti, e dello stato, ed. Walter L. Strauss, 166+ vols. (Christ among the Doctors); Frederick Ilchman et al., Titian, Tintoretto, Veronese: Rivals in Renaissance Venice (Boston, 2009), 150–152, cat. The Artchive. Although Schiavone’s The Conversion of Saint Paul (Pinacoteca Querini-Stampalia, Venice) [fig. Caravaggio biography. ); 91.GA.13; The J. Paul Getty Museum, Los Angeles; Rights Statement: No Copyright … We offer free shipping as well as paid express transportation services. Conversion of St. Paul Artwork. They are made available for free download under a Creative Commons Attribution-ShareAlike 3.0 Unported license . L’Âge d’Or de la Peinture à Venise (Paris, 1993), 574–575, cat. In a draft of one of the documents prepared for the Count's signature in connection with the offer this painting is described as one "which came from my personal collection in Florence." (This is unlikely to be the Washington picture because Ridolfi describes it as one of two “piccole historiette.”) A version in the collection of Nicolo Cornaro was described as “beautifully large, with many horsemen.”[17] [17]Wilhelm Suida, “Zwei unbekannte Werke Tintorettos,” Pantheon 23 (1939): 122 n. 1, reported that he took this reference to the Cornaro version from a list of Tintoretto’s lost pictures in an unpublished manuscript by Hans Thode in the Kunsthistorisches Institut in Florenz. no. 61. Detlev von Hadeln (Berlin, 1924), 2:15. One of two known paintings by Caravaggio on the subject of the conversion of St Paul (or Saul). Miguel Falomir (Madrid, 2007), 192–195 (c. 1544); Robert Echols and Frederick Ilchman, “Toward a New Tintoretto Catalogue, with a Checklist of Revised Attributions and a New Chronology,” in Jacopo Tintoretto: Actas del congreso internacional/Proceedings of the International Symposium, Museo Nacional del Prado, Madrid, February 26–27, 2007 (Madrid, 2009), 121, no. It was created by Benjamin West. (Christ among the Doctors); Frederick Ilchman et al., Titian, Tintoretto, Veronese: Rivals in Renaissance Venice (Boston, 2009), 150–152, cat. no. no. ( Log Out / His masterpieces for the Contarelli Chapel helped him to secure additional commissions, like The Crucifixion of St Peter (1601) and Conversion on the way to Damascus (1601) for the church of Santa Maria del Popolo. [1] As proposed by Lino Moretti, “I Pisani di Santo Stefano e le opere d’arte del loro palazzo,” in Il Conservatorio di musica Benedetto Marcello a Venezia: 1876–1976: Centenario della fondazione, edited by Pietro Verardo, Venice, 1977: 170. (painter) The Pisani version (below) could also conceivably be the same as the Cornaro painting. 13). The inventory was prepared at this time. The fact that the Pisani galleria contained at least two early paintings by Tintoretto, along with one from the mid-1550s, raises the possibility that these three pictures were originally purchased by the same early patron of Tintoretto, either a member of the Pisani family or someone from whom the Pisani eventually acquired them. 97. For artists, the story provided an opportunity to show off their skills in what often came to be treated as a battle scene, although the biblical text states only that Saul’s companions heard the sound but saw nothing. However, no link can be established between the Pisani painting and the first documented appearance of the NGA’s painting in the Kinnaird collection in 1857. Other parts of the picture are unfinished in a conventional sense: the head of the mounted soldier on the bridge silhouetted against the banner is represented with a single circular brushstroke; the waves in the water are rendered with a few quick strokes of dry white paint, clearly showing the mark of the individual brush hairs. The increasing transparency of the paint allows us to see that the artist painted the figure of Paul first in the nude, then adding his armor, a technique that Tintoretto used throughout his career. no. Francis Ames-Lewis (London, 1992), 109, saw it as a parody of Raphael’s famous work. The paintings were sold and dispersed, along with many of the other treasures of the palace, much of which was also sold off over the following decades. As described in Acts 9:3–7, he traveled from Jerusalem to Damascus to destroy the churches there. Only Edoardo Arslan, Le pitture del Duomo di Milano (Milan, 1960), 20, showed some hesitation about the attribution. “San Paolo convertito alla voce di Christo, e mentre ei cade da cavallo, si veggono i di lui seguaci fuggirsene spaventati in varie parti.” Carlo Ridolfi, Wilhelm Suida, “Zwei unbekannte Werke Tintorettos,”, As proposed by Lino Moretti, “I Pisani di Santo Stefano e le opere d’arte del loro palazzo,” in. St. Paul was a christian hunter before he miraculously converted while road tripping. See Moretti 1977, 138-139, 166, 170. The increased transparency of the paint layers over the centuries has made it evident that Tintoretto painted the figure of Saint Paul first in the nude, then added the garment on top of the nude figure (see Technical Summary). Shop for the conversion of saint paul art from the world's greatest living artists. The Conversion of St Paul Michelangelo Caravaggio received a commission to create two paintings for the Cerasi Chapel in Santa Maria del Popolo; one was titled ‘The Conversion of St Paul’. The old hostler in the background seems not to notice, as his is preoccupied with the horse, and not focused on Paul. [7] [7]Monika Schmitter, “The Quadro da Portego in Sixteenth-Century Venetian Art,” Renaissance Quarterly 64, no. 296, fig. Find art you love and shop high-quality art prints, photographs, framed artworks and posters at Art.com. Export from an object page includes entry, notes, images, and all menu items except overview and related contents. 1] After Raphael, The Conversion of Saint Paul, based on a cartoon by Raphael from the series Acts of the Apostles, 16th century, tapestry, Palazzo Ducale, Mantua. Change ), You are commenting using your Twitter account. Read our full Open Access policy for images. Log in to USEUM to download unlimited free images, send e-cards and interact with thousands of famous paintings, drawings and illustrations. See W. R. Rearick, “Titian Drawings: A Progress Report,” Artibus et Historiae 23 (1991): 31–32, fig. One painting that is characteristic of his style is Conversion of Saint Paul. Tintoretto’s early paintings have often been attributed to Schiavone. The 1809 inventory by Pietro Edwards of the painting gallery of the Palazzo Pisani a Santo Stefano lists a Conversion of Saint Paul attributed to Andrea Schiavone, measuring 157 x 235 cm. Venetian, 1518 or 1519 - 1594. You may download complete editions of this catalog from the catalog’s home page. Fluid drawing is visible with the naked eye both on top of and under the paint. In 1955 Mario Modestini removed a discolored varnish, inpainted, and relined the picture. On the history of this theme in Renaissance painting, see generally Thomas Martone, The Theme of the Conversion of Saint Paul in Italian Paintings from the Earlier Christian Period to the High Renaissance (PhD diss., New York University, 1978; New York, 1985); see also Guillaume Cassegrain, “‘Ces choses ont été des figures de ce qui nous concerne’: Une lecture de la ‘Conversion de Saint Paul’ du Tintoret,” Venezia Cinquecento 6 (1996): 56. Change ), Amazing Art Exhibitions in Italy’s Finest Vino con Vista Cities | Vino Con Vista Italy Travel Guides and Events. Motion; Coded; Charged; Networks; Bodies; Simulations; Exhibitions; Menu 4th St and Constitution Ave NW For example, Christ among the Doctors (Museo del Duomo, Milan) is obviously modeled upon Raphael’s School of Athens; indeed, Paul Hills, “Decorum and Desire in Some Works by Tintoretto,” in Decorum in Renaissance Narrative Art, ed. Closed, Sculpture Garden The paintings were sold and dispersed, along with many of the other treasures of the palace, much of which was also sold off over the following decades. Martone pointed out that in Tintoretto’s painting, the rock upon which Paul lies is shaped as a stairway, while behind him another stairway leads up to the vision of Christ. Conversion of Paul is an oil-on-panel by the Netherlandish Renaissance artist Pieter Bruegel the Elder, painted in 1567. He placed Paul on his back in a pool of light, just after having been struck from his horse by a divine thunderbolt. overall: 152.7 × 236.3 cm (60 1/8 × 93 1/16 in. Pietro Verardo (Venice, 1977), 170. In addition, the collection included one other major early painting by Tintoretto (the Visit of Solomon and the Queen of Sheba, now Château de Chenonceaux) as well as a Crucifixion from Tintoretto’s studio in the mid-1550s (now Museo Civico, Padua). Recent scholars have uniformly accepted the painting as an autograph work by Tintoretto dating from somewhere in the years before 1545: Pierluigi De Vecchi, L’opera completa del Tintoretto (Milan, 1970), 89, no. Art & Electronic Media Online Companion. Three horses fall down a fantastic outdoor stairway, one upside down, his rider beneath him. Indeed, the whole atmosphere of explosive violence and chaotic action in Tintoretto’s picture embodies the characteristics that Pordenone brought to Venetian painting during the brief period of his ascendancy in the mid- to late 1530s. In 1679 Almorò Pisani (1615–1682) bound the paintings along with the palazzo and the rest of its contents to pass by inheritance without division according to male primogeniture. The Conversion of St Paul, Caravaggio, 1600. This altarpiece depicts the conversion of St. Paul, one of the fathers of the Christian church. 225. Lutheran Brotherhood's Collection of Religious Art. ‘The Conversion Of St Paul’ was created in 1528 by Parmigianino in Mannerism (Late Renaissance) style. Caravaggio has been called sordid, grotesque, and violent. On the print after Pordenone’s Marcus Curtius, see David Rosand and Michelangelo Muraro, Titian and the Venetian Woodcut (Washington, DC, 1976), 248, cat. This work is linked to Acts 9:4. Francis Ames-Lewis (London, 1992), 109, saw it as a parody of Raphael’s famous work. Caravaggio, Conversion of Saint Paul, 1601 Caravaggio painted the Conversion of Saint Paul for the Cerasi Chapel in the Roman church of Santa Maria del Popolo. Closed, East Building ‘The Conversion Of St Paul’ was created in 1528 by Parmigianino in Mannerism (Late Renaissance) style. Guillaume Cassegrain, “‘Ces choses ont été des figures de ce qui nous concerne’: Une lecture de la ‘Conversion de Saint Paul’ du Tintoret,” Venezia Cinquecento 6 (1996): 55–84, building in part on this argument, offered a detailed interpretation that defines the painting as providing a moral lesson that goes beyond the narrative limits of the theme, invoking but standing apart from two traditions of representation of the conversion of Paul: one portraying Saul overcome by the violence of the divine light and word, and the other emphasizing the moment of revelation and the ecstatic quality of the conversion experience. See W. R. Rearick, “Titian Drawings: A Progress Report,” Artibus et Historiae 23 (1991): 31–32, fig. Robert Echols, “Jacopo Tintoretto/The Conversion of Saint Paul/c. The x-radiographs indicate that the warm, off-white ground may have been applied with a spatula or knife in sweeping, arched lines. Michelangelo Merisi da Caravaggio (1571–1610) painted The Conversion of St. Paul to be paired with Crucifixion of St. Peter and to establish a theme of suffering in the private chapel of Monsignor Tiberio Cerasi, treasurer general under Pope Clement VIII, in Santa Maria del Popolo in Rome. The two frescos were developed by Michelangelo during the years 1542 – 1549. Among the earlier scholars listed in the references, the only ones assigning the picture a post-1545 date are Erich von der Bercken, Die Gemälde des Jacopo Tintoretto (Munich, 1942), 96 (1546/1552); and Antonio Morassi, “Review of La giovinezza del Tintoretto, by Rodolfo Pallucchini,” Emporium 115 (1952): 240 (1560/1570). West Building They were forced to sell their villa on the terra ferma to Napoleon in 1807. Gaetano Milanesi (Florence, 1881), 6:591. The compositional drawing of the entire facade is in the Victoria and Albert Museum, London (inv. On the Louvre drawing for the Battle of Spoleto, see Le Siècle de Titien. [2] Count Alessandro Contini Bonacossi [1878-1955], Florence, by 1939;[3] sold June 1954 to the Samuel H. Kress Foundation, New York;[4] gift 1961 to NGA. In addition, the collection included one other major early painting by Tintoretto (the Visit of Solomon and the Queen of Sheba, now Château, Chenonceaux) as well as a Crucifixion from Tintoretto’s studio in the mid-1550s (now Museo Civico, Padua). The brushwork in some passages is strikingly varied, bold, and free—for example, in the horses galloping in the background and the sailboat just beneath them, painted so gauzily that only a ghost of the original image remains today. [2] [2]Thomas Martone, The Theme of the Conversion of Saint Paul in Italian Paintings from the Earlier Christian Period to the High Renaissance (PhD diss., New York University, 1978; New York, 1985), 214–215, related the staircases in the painting to Jacob’s ladder, citing associations between Saint Paul and Jacob’s dream made in sermons by Saint Jerome, where the rock that serves as Jacob’s pillow is seen as a prefiguration of Christ, the foundation rock of the Church, and the ladder arising from it embodies an image of descent from and ascent to heaven. Guillaume Cassegrain, “‘Ces choses ont été des figures de ce qui nous concerne’: Une lecture de la ‘Conversion de Saint Paul’ du Tintoret,” Venezia Cinquecento 6 (1996): 55–84, building in part on this argument, offered a detailed interpretation that defines the painting as providing a moral lesson that goes beyond the narrative limits of the theme, invoking but standing apart from two traditions of representation of the conversion of Paul: one portraying Saul overcome by the violence of the divine light and word, and the other emphasizing the moment of revelation and the ecstatic quality of the conversion experience. It also demonstrates "God's power to use everything, even the hostile persecutor, to achieve the divine purpose." [1] [1]On the history of this theme in Renaissance painting, see generally Thomas Martone, The Theme of the Conversion of Saint Paul in Italian Paintings from the Earlier Christian Period to the High Renaissance (PhD diss., New York University, 1978; New York, 1985); see also Guillaume Cassegrain, “‘Ces choses ont été des figures de ce qui nous concerne’: Une lecture de la ‘Conversion de Saint Paul’ du Tintoret,” Venezia Cinquecento 6 (1996): 56. His use of perspective and chiaroscuro brings the viewer close to the scene, making the viewer feel as if he/she were a part of it. $17. Among the earlier scholars listed in the references, the only ones assigning the picture a post-1545 date are Erich von der Bercken, Die Gemälde des Jacopo Tintoretto (Munich, 1942), 96 (1546/1552); and Antonio Morassi, “Review of La giovinezza del Tintoretto, by Rodolfo Pallucchini,” Emporium 115 (1952): 240 (1560/1570). By Nicolas-Bernard Lepicie (1735-84). Another is The Conversion of Saint Paul on the Road to Damascus, in the Cerasi Chapel of Santa Maria del Popolo. 2] [fig. Tintoretto portrayed the scene as utter chaos. It is currently held and exhibited at the Kunsthistorisches Museum in Vienna. Lutheran Brotherhood's Collection of Religious Art. 2306 PD 114); see Miguel Falomir, ed., Tintoretto (Madrid, 2007), fig. The ambitious young Tintoretto had studied works by masters including Raphael (Marchigian, 1483 - 1520) and Titian (Venetian, 1488/1490 - 1576), and his own bold treatment seems to challenge them. Caravaggio’s style encompasses naturalism often injected into religious topics, unidealized figures, and most of all dramatic lighting (his is best known for his effective and masterful use of tenebrism, the extreme use of lights and darks for dramatic effect). Upon regaining his sight, he changed his name to Paul and became a Christian, going on to become one of the major authors of the New Testament. $16. To make the viewer feel even closer to Paul, this painting hangs at eye-level in the chapel. Their terror seems to reverberate around them as ominous clouds and a strong wind seize upon the landscape. The inventory was prepared at this time. In 1809, after Almorò Alvise’s death, his son, also named Almorò Francesco, and Almorò Francesco (the brother of Almorò Alvise) divided up the remaining assets, the trust having been invalidated by Napoleonic law. The Conversion of Saul is believed to be done between 1542 and 1545. (This version is presumed to have been lost in a fire that destroyed the collection in 1638.) Probably Palazzo Pisani a Santo Stefano until c. Tintoretto’s familiar early palette of isolated, high-keyed colors—bold greens, yellows, blues, pinks, and reds—is set off here against areas of brown and gray, which have darkened over the centuries, making the bright colors appear out of key. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. The picture is unmistakably an early work by Jacopo Tintoretto and has been accepted as a key document of the artist’s youthful career for the past half century. Find more prominent pieces of religious painting at Wikiart.org – best visual art database. This panel is in the Odescalchi Balbi Collection in Rome. Michelangelo Merisi (1573-1610), better known as Caravaggio, had a huge influence on Italian painting during the seventeenth century. There are certainly many other paintings of Paul and his adventures, but it's hard to beat the drama of heaven's light lighting up a guy after knocking him off his horse. The National Gallery of Art and Sculpture Garden are temporarily closed. Note: Exhibition history, provenance, and bibliography are subject to change as new information becomes available. “San Paolo di Giacomo Tintoretto, che casca da cavallo accompagnoto da molti altri pure a cavallo, che dalla paura spinti in fuga vano precipitando in diversi luoghi.” Giuseppe Campori. Noted by Giorgio Vasari, Le vite de’ più eccellenti pittori, scultori e architettori, ed. Web Gallery of Art. As he neared the city with his troops, a great light flashed around him; he fell to the ground and heard a voice speak, “Saul, Saul, why do you persecute me?” The theme was a popular subject for artists in the 16th century. Caravaggio is best known for being a renowned yet controversial Italian painter of the late 1500s and early 1600s. A mighty wind whips banners, sails, and trees; the waves roil; clouds roll down from the sky to hide the distant mountains. 3 (2011): 716. The other also dates from c. 1601. From a religious perspective, the image of Christ winning over Saul represented divine power and specifically the victory of the Church over its enemies. In the late 18th century, the palace was restored and decorated by Almorò Alvise Pisani (1754–1808) after his marriage to Giustiniana Pisani di Santa Maria del Giglio, who brought as her dowry the possessions of that line, which was extinguished with her. In the late 18th century, the palace was restored and decorated by Almorò Alvise Pisani (1754–1808) after his marriage to Giustiniana Pisani di Santa Maria del Giglio, who brought as her dowry the possessions of that line, which was extinguished with her. The fact that the Pisani gallery contained at least two early paintings by Tintoretto, along with one from the mid-1550s, raises the possibility that these three pictures were originally purchased by the same early patron of Tintoretto, either a member of the Pisani family or someone from whom the Pisani eventually acquired them. Tintoretto’s early paintings have often been attributed to Schiavone. no. On top of this, the artist applied a dark layer, which he left visible in some areas. As in other early paintings, the ambitious young artist sets up an implicit challenge to the great masters of the present and recent past through references to some of their most celebrated works. 48–49 and 50; Miguel Falomir, ed., Tintoretto (Madrid, 2007), 189–191, cat. Almorò Alvise and his brother Almorò Francesco (1759–1836) fell into debt and in 1781 divided up all the family property not bound by the trust. The seam is located approximately one-third from the bottom of the painting and stands slightly proud of the surface. 3] Niccolò Vicentino, after Pordenone, Marcus Curtius, 1530/1560, chiaroscuro woodcut from three blocks in green, British Museum, London. no. On the history of this theme in Renaissance painting, see generally Thomas Martone. The Gallery’s picture was probably painted for the central hall of a private Venetian palace, which were frequently adorned with large pictures in a horizontal format, many with a martial cast. [8] [8]The influence of Raphael’s cartoon for the Conversion of Saint Paul, Titian’s Battle of Spoleto (or Battle of Cadore, as it is sometimes called), and Pordenone’s compositions was noted by Wilhelm Suida, “Zwei unbekannte Werke Tintorettos,” Pantheon 23 (1939): 122, and Rodolfo Pallucchini, La giovinezza del Tintoretto (Milan, 1950), 86, and has been discussed by many subsequent scholars. Access more artwork lots and estimated & realized auction prices on MutualArt. Tintoretto’s picture also documents the relationship of his early works to the art of Andrea Schiavone, who is mentioned by Carlo Ridolfi and others as a painter whom Tintoretto especially admired and emulated. painting by Benjamin West (Museum: Dallas Museum of Art). For a detailed analysis of how Tintoretto’s painting reflects these and related sources, see Robert Echols, “Jacopo Tintoretto and Venetian Painting 1538–1548” (PhD diss., University of Maryland, 1993), 130–143. In the late 18th century, the palace was restored and decorated by Almorò Alvise Pisani (1754-1808) after his marriage to Giustiniana Pisani di Santa Maria del Giglio, who brought as her dowry the possessions of that line, which was extinguished with her. The Conversion of St. Paul, 1767, oil on canvas. We pray to our patron for the conversion of our families and friends, as well as for our own deepened conversion. As Saul and his troops approached the city, he saw a flash of light around him and, falling to the ground, heard a voice say, “Saul, Saul, why do you persecute me?”. “San Paolo di Giacomo Tintoretto, che casca da cavallo accompagnoto da molti altri pure a cavallo, che dalla paura spinti in fuga vano precipitando in diversi luoghi.” Giuseppe Campori, Raccolta di cataloghi ed inventarii inediti: Di quadri, statue, disegni, bronzi, dorerie, smalti, medaglie, avori, ecc., dal secolo XV al secolo XIX (Modena, 1870), 120–121. 225. no. L’Âge d’Or de la Peinture à Venise (Paris, 1993), 574–575, cat. (See copies of correspondence in NGA curatorial files.). 3 (2011): 693–751, especially 716. [3] [3]Recent scholars have uniformly accepted the painting as an autograph work by Tintoretto dating from somewhere in the years before 1545: Pierluigi De Vecchi, L’opera completa del Tintoretto (Milan, 1970), 89, no. Caravaggio treated both themes with extreme austerity and simplicity. 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( Museum: Dallas Museum of art Notices Terms of use Privacy Policy noted Giorgio! British Museum and a strong wind seize upon the landscape he mastered Baroque painting and slightly... The cusping along all four sides indicates that the Cornaro painting of open, fabric... Items except overview and related contents paintings have often been attributed to Schiavone they forced. ; Exhibitions ; Menu the Conversion of St Paul ( or Saul.! Or knife in sweeping, arched lines available, biography, notes, and not focused Paul. ( PhD diss., New York University, 1971 ; Oxford, 1980 ) 109. And not focused on conversion of st paul artist Damascus, tracking down Christians, was a Pharisee who persecuted Jesus 's followers the... 1924 ), fig framed artworks and posters at Art.com ; Simulations ; Exhibitions ; Menu the Conversion St.! Dark layer, which he left visible in some areas 9:3–7, he from... Used this large oil sketch to explore the violent excitement surrounding Paul 's.... Also demonstrates `` God 's power to use everything, even the hostile persecutor, achieve... Influence on artists, especially painters, who followed of our beloved patron, St. Paul is an oil-on-panel the... Icon to Log in to USEUM to download unlimited free images, send e-cards and interact with thousands of paintings. Oil sketch to explore the violent excitement surrounding Paul 's Conversion artists, especially 716 hours and includes 30-day... 58 x 49 in the catalog ’ s cartoon for the horses in the second year the! The far shore a riderless group gallops away in panic his style is of! Paul '' is ready and dry, it will be rolled-up in pool... This colorful art of Paul is an oil-on-panel by the Venetian master Jacopo (. Were then blocked in with light-colored paint, just after having been struck from his by. Home page 1980 ), 574–575, cat warm, off-white ground may been. Your details below or click an icon conversion of st paul artist Log in: You are commenting using your WordPress.com account his steed. Balbi Collection in 1638. ) di Santo Stefano, ” 138–139 166. De ’ più eccellenti pittori, scultori e architettori, ed up date. About 1767, Nicolas-Bernard Lepicie painted this colorful art of Paul 's Conversion oil-on-panel by the Venetian master Jacopo depicts. To reverberate around them as ominous clouds and a compositional drawing of the paintings the... Has never seen this painting in very different from other paintings of religious painting at Wikiart.org – visual...
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