The Conversion of Saint Paul
Dublin Core
Title
The Conversion of Saint Paul
Description
Jacopo Tintoretto is an important leading figure of the Venetian School and the Mannerist style. He studied at Italian painter Titian's studio and had greatly influenced by Titan's use of color.[1] The painting embodied his expressive dramatic depiction of stories and his distinctive narrative techniques.
The scene takes place among the scenic mountains, surrounded by blue and dark green hills and skies crossing the canvas in the background. A huge mess and chaos strike the viewer's eyes. The artist recorded a scene where soldiers fell from a horse and trampled under a horse's hoof. Those soldiers in the crowd wearing shiny silver helmets and pink armor are scattered over the canvas, adding to the cruelty and drama of the scene.[2] The concept of this equestrian part also refers to Titan’s war scene shown in the Dual Palace and the painter Pordenone’s artistic ideas.[3] The water in the scene on the right is full of people struggling and fleeing. The white waves with the edge of foams and the victims' distorted facial expressions reflected the severity of this mythological disaster. In the distant view, the bodies of people fell from the mountain, some were still clung to the backs of horses, some were almost naked with their limbs stretched out, while others were scattered on the ground.
At the front of the picture is the protagonist Saul. He lies down with his arms open and looks at the upper left corner of the picture with a surprised expression. Jesus appears in the sky and clouds. The position of his protagonist is clearly depicted with the artist's delicate composition skills. To his left and right are people and horses fleeing and stretching in opposite directions. His head and facial expressions are in the most conspicuous position, dividing the picture into two, showing that he is the main cause of all chaos and the focus of the furious god’s eyes.
This painting records an important moment in the myth. Saul, an opponent of Christianity, received approval and led a team to Damascus to find and massacre all Christians. On the way to perform this task, Jesus suddenly appeared and stopped them. Their team was disrupted by the dazzling light and loud voices. Jesus angrily asked Saul why he was dedicated to persecuting him and confirmed his identity. [4]
The artist's creative style is freely used in this work. For example, his paintings depict explosive scenes such as shouting and drowning. The audience was shocked by the emotional madness and chaos in the painting. The characters in the picture are full of power, with dynamic energy that is almost superhuman, like other sculptures in the Renaissance era that portray the unfettered movement. [5] The overall tone of the picture is roughly yellow, gray, and brown, but the cranberry red color used on Jesus and the soldiers brings up the focus and conflict of the picture. As reflected in his bright color scheme and exaggerated and bold brushwork, his unprecedented style forms the unique theatricality of the outcome.[6]
[1]“The Conversion of Saint Paul - The Collection.” The Collection - Museo Nacional del Prado, January 1, 1595. https://www.museodelprado.es/en/the-collection/art-work/the-conversion-of-saint-paul/a47d0215-543a-4a8f-8d30-d1c5d843a611.
[2]“The Conversion of St. Paul--Transcripts.”, A Long Look, September 12, 2020. https://alonglook-slowart.com/transcripts/.
[3]Nichols, Tom. Tintoretto: Tradition and Identity. Reaktion Books, 2015,page 3
[4] Bible Gateway. “Bible Gateway Passage: Acts 9 - New Revised Standard Version.” Accessed September 26, 2020. https://www.biblegateway.com/passage/?search=Acts%209&version=NRSV.
[5] Goldberg, Jonathan. “Conversions: Around Tintoretto.” The Seeds of Things, 2009, page 18
[6] Bangkok Post Public Company. “Tintoretto’s Bold Innovations Highlighted in US Show.” Accessed September 23, 2020. https://www.bangkokpost.com/world/1650276/tintorettos-bold-innovations-highlighted-in-us-show.
The scene takes place among the scenic mountains, surrounded by blue and dark green hills and skies crossing the canvas in the background. A huge mess and chaos strike the viewer's eyes. The artist recorded a scene where soldiers fell from a horse and trampled under a horse's hoof. Those soldiers in the crowd wearing shiny silver helmets and pink armor are scattered over the canvas, adding to the cruelty and drama of the scene.[2] The concept of this equestrian part also refers to Titan’s war scene shown in the Dual Palace and the painter Pordenone’s artistic ideas.[3] The water in the scene on the right is full of people struggling and fleeing. The white waves with the edge of foams and the victims' distorted facial expressions reflected the severity of this mythological disaster. In the distant view, the bodies of people fell from the mountain, some were still clung to the backs of horses, some were almost naked with their limbs stretched out, while others were scattered on the ground.
At the front of the picture is the protagonist Saul. He lies down with his arms open and looks at the upper left corner of the picture with a surprised expression. Jesus appears in the sky and clouds. The position of his protagonist is clearly depicted with the artist's delicate composition skills. To his left and right are people and horses fleeing and stretching in opposite directions. His head and facial expressions are in the most conspicuous position, dividing the picture into two, showing that he is the main cause of all chaos and the focus of the furious god’s eyes.
This painting records an important moment in the myth. Saul, an opponent of Christianity, received approval and led a team to Damascus to find and massacre all Christians. On the way to perform this task, Jesus suddenly appeared and stopped them. Their team was disrupted by the dazzling light and loud voices. Jesus angrily asked Saul why he was dedicated to persecuting him and confirmed his identity. [4]
The artist's creative style is freely used in this work. For example, his paintings depict explosive scenes such as shouting and drowning. The audience was shocked by the emotional madness and chaos in the painting. The characters in the picture are full of power, with dynamic energy that is almost superhuman, like other sculptures in the Renaissance era that portray the unfettered movement. [5] The overall tone of the picture is roughly yellow, gray, and brown, but the cranberry red color used on Jesus and the soldiers brings up the focus and conflict of the picture. As reflected in his bright color scheme and exaggerated and bold brushwork, his unprecedented style forms the unique theatricality of the outcome.[6]
[1]“The Conversion of Saint Paul - The Collection.” The Collection - Museo Nacional del Prado, January 1, 1595. https://www.museodelprado.es/en/the-collection/art-work/the-conversion-of-saint-paul/a47d0215-543a-4a8f-8d30-d1c5d843a611.
[2]“The Conversion of St. Paul--Transcripts.”, A Long Look, September 12, 2020. https://alonglook-slowart.com/transcripts/.
[3]Nichols, Tom. Tintoretto: Tradition and Identity. Reaktion Books, 2015,page 3
[4] Bible Gateway. “Bible Gateway Passage: Acts 9 - New Revised Standard Version.” Accessed September 26, 2020. https://www.biblegateway.com/passage/?search=Acts%209&version=NRSV.
[5] Goldberg, Jonathan. “Conversions: Around Tintoretto.” The Seeds of Things, 2009, page 18
[6] Bangkok Post Public Company. “Tintoretto’s Bold Innovations Highlighted in US Show.” Accessed September 23, 2020. https://www.bangkokpost.com/world/1650276/tintorettos-bold-innovations-highlighted-in-us-show.
Creator
Jacopo Tintoretto
Source
Bangkok Post Public Company. “Tintoretto’s Bold Innovations Highlighted in US Show.” Accessed September 23, 2020. https://www.bangkokpost.com/world/1650276/tintorettos-bold-innovations-highlighted-in-us-show.
Bible Gateway. “Bible Gateway Passage: Acts 9 - New Revised Standard Version.” Accessed September 26, 2020. https://www.biblegateway.com/passage/?search=Acts%209&version=NRSV.
Goldberg, Jonathan. “Conversions: Around Tintoretto.” The Seeds of Things, 2009, page 18
Nichols, Tom. Tintoretto: Tradition and Identity. Reaktion Books, 2015,page 3
“Jacopo Tintoretto: The Conversion of Saint Paul (Ca. 1545).” Accessed September 23, 2020. https://www.artsy.net/artwork/jacopo-tintoretto-the-conversion-of-saint-paul.
“The Conversion of Saint Paul - The Collection.” The Collection - Museo Nacional del Prado, January 1, 1595. https://www.museodelprado.es/en/the-collection/art-work/the-conversion-of-saint-paul/a47d0215-543a-4a8f-8d30-d1c5d843a611.
Image Source: “The Conversion of St. Paul--Transcripts.”, A Long Look, September 12, 2020. https://alonglook-slowart.com/transcripts/.
Bible Gateway. “Bible Gateway Passage: Acts 9 - New Revised Standard Version.” Accessed September 26, 2020. https://www.biblegateway.com/passage/?search=Acts%209&version=NRSV.
Goldberg, Jonathan. “Conversions: Around Tintoretto.” The Seeds of Things, 2009, page 18
Nichols, Tom. Tintoretto: Tradition and Identity. Reaktion Books, 2015,page 3
“Jacopo Tintoretto: The Conversion of Saint Paul (Ca. 1545).” Accessed September 23, 2020. https://www.artsy.net/artwork/jacopo-tintoretto-the-conversion-of-saint-paul.
“The Conversion of Saint Paul - The Collection.” The Collection - Museo Nacional del Prado, January 1, 1595. https://www.museodelprado.es/en/the-collection/art-work/the-conversion-of-saint-paul/a47d0215-543a-4a8f-8d30-d1c5d843a611.
Image Source: “The Conversion of St. Paul--Transcripts.”, A Long Look, September 12, 2020. https://alonglook-slowart.com/transcripts/.
Publisher
Courtesy National Gallery of Art, Washington
Image Source: NGA Online Editions, September 2020. https://www.nga.gov/collection/art-object-page.46142.html
Image Source: NGA Online Editions, September 2020. https://www.nga.gov/collection/art-object-page.46142.html
Date
1590-1595
Contributor
Liuren Yin
Rights
Public Domain. Image Source: NGA Online Editions, September 2020. https://www.nga.gov/collection/art-object-page.46142.html
Format
Oil on Canvas, 152.4 × 236.2 cm
Type
Painting
Coverage
Courtesy National Gallery of Art, Washington, USA
Citation
Jacopo Tintoretto, “The Conversion of Saint Paul,” ARTHIST 89S - Visual Culture of Venice - Fall 2020, accessed October 22, 2026, https://venice.dahvc.org/fall-2020/items/show/62.