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هي مكتبة رقمية تحتوي علي آلاف الفيديوهات العربية في جميع المجالات
It is a digital library containing thousands of Arabic videos in all fields.
قوائم تشغيل فسيلة
https://www.dailymotion.com/fasela/playlists
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LearningTranscript
00:00Buongiorno señor Carvajgio
00:08I heard you're a great painter
00:09I needed a 4x6 drawing for my passport.
00:13Buongiorno
00:14Yes, go ahead, promise.
00:15Excuse me, but please don't move until I finish the drawing.
00:18I'll just ask your permission
00:19It might be a quick photo
00:20Don't worry at all
00:21It's exactly five hours
00:23wow
00:23At this speed
00:24This voting system has evolved a lot
00:26Please, no matter what happens
00:27No matter what
00:28Keep smiling
00:29He didn't move at all
00:31Listen very carefully to what I'm about to tell you, Señor Forino
00:35Santonelli was injured
00:36Go home now
00:38He didn't get free and he left
00:39Keep smiling
00:40The secret police officer saw the girl outside the window.
00:42Everything must appear natural.
00:45Your family is right
00:47Don't worry about them
00:49Because these aren't your family
00:51Your two sons, Mario and Luigi
00:54They remain the children of Antonio Soprano
00:56But your third son isn't Antonio Soprano's son.
00:59But I'm a son
01:01I told you not to move
01:04I'm sure you're saying right now
01:06Why God?
01:07Why is this happening to me?
01:09I know why
01:10Because your personality is weak, Furino
01:12As evidenced by the fact that you didn't move
01:13Because I just told you not to move
01:15There were no police or anything.
01:18No, this is the hemorrhage.
01:19My children
01:19All of this is still not right.
01:21No, that's absolutely true.
01:23But the half of the cable is full
01:25My wife is pregnant
01:26pure
01:27I have no one but my beloved grandfather
01:28He's the one who warned me about all of them.
01:30But I'm done with your picture.
01:31What do you think?
01:34What is this?
01:36That's how I am, obscured in the picture.
01:39Yes, indeed.
01:40Let's start again
01:43Listen carefully to what I'm about to tell you, Señor Forino
01:46Your grandfather is your beloved
01:47Your grandfather won't be your lover anymore
01:49Beard
01:50And the words don't get drawn
01:52I don't know how to draw you
02:02Dear viewers, stay up late! Blessings await you in a new episode of Al-Daheeh program.
02:05In Rome in the year 16006
02:06And in the monks of the church of Santa Maria della Scala
02:09We are eagerly awaiting
02:10They see the painting of the death of the plant
02:12The one who finally finished it was one of the most important artists of his era.
02:15The artist known as Caravaggio
02:17Caravaggio, my dear, someone is painting this painting.
02:19four years
02:20The enthusiasm was very high
02:21Everyone was expecting to see a great painting
02:23For a great artist, for great personalities
02:25Hello my dear
02:26The people in the middle of this coffee shop are preparing
02:29You look and are shocked by the painting
02:31The monks after they look at the painting
02:32They say with disapproval
02:34This is not a virgin
02:34Who is the woman?
02:35This loneliness
02:36Where is the light? Where are the angels? Where is the sanctity of the painting?
02:39Is this the best artist in Europe?
02:41Come on, my dear, in his book
02:42Caravaggio: The Complete Works
02:43International, my dear, the book states that the church's shock was caused by
02:46Caravaggio's departure from the traditions by which the virgin is depicted
02:49Which usually appears in drawings as a sacred, luminous being
02:53Those who made Caravaggio in the painting
02:54The strange thing for them was that he replaced her with the body of an ordinary human woman.
02:59She has signs of death.
03:00If you look closely at the picture, my dear, you'll feel like we're watching a theatrical scene.
03:03A large red curtain hanging from the ceiling, like a permit curtain.
03:06A strong light illuminates the Virgin's body and the faces of those present.
03:09While the rest of the scene is shrouded in darkness
03:11Not all of it, my dear, this isn't a stage play.
03:13This is not an acting scene, this is a very realistic scene
03:15A sad human death scene
03:17The heroine here is a very ordinary woman.
03:19The Virgin in the painting is sleeping on the stream, modest
03:22Her stomach has a slight protrusion
03:24Their faces are dull, there's no sacred aura around them, lust.
03:27Her legs were exposed and she was downstairs
03:29It was as if she had suddenly fallen out of life
03:31If you look simply around her you will find figures like the apostles and Mary the dangled
03:34They all look down and are sad
03:35The strange thing here, my dear, is as I told you.
03:37There is no depiction of an epic moment here.
03:39Divine light, holiness
03:41There is no sanctity in a painting of holy figures.
03:44The painting contains realistic bodies
03:46And a real sadness, as if we were at an ordinary funeral.
03:49The truth, my dear
03:50Let's leave it at that and tell you
03:51The monks' shock won't end here.
03:53Because when the monks are looking for the model
03:55The one Caravagè chose it
03:57To represent the excuse in this painting
03:59They discovered it was a real corpse
04:01For whom is one of the prostitutes?
04:03Those who knew them
04:04Your father rebukes Isod
04:05This girl drowned in a river one day
04:07So they brought him her body.
04:08So that he could draw her dead
04:10Your father rebukes Isod
04:11You think you're Mohamed Khan
04:12What are you doing?
04:13The genitals, O sons of Adam
04:14Perhaps, my dear
04:15You feel like we're dealing with a strange artist
04:17He paints a sacred picture
04:18But he avoids portraying holiness.
04:20Instead of doing that
04:21It creates a realistic portrayal of pain and sorrow.
04:23Perhaps, my dear
04:24To understand this painting
04:25We need to understand this artist's childhood.
04:27How did it originate?
04:28What happened in his life?
04:29Let it stay like this
04:31What raised this boy?
04:33On September 29, 1571
04:36Our hero is born in Milan
04:37On the same day as the feast of the Archangel Michael
04:39That's why his family reacted.
04:40They named him Michelangelo
04:42Her father, Aziz, was a decor engineer.
04:43He was working in the city of Caravaggio
04:45And then, my dear
04:46What you can expect
04:47He will take his name from her.
04:48Michelangelo Millesi di Caravaggio
04:50I wonder Abu Ahmed
04:51You go swimming
04:52And you don't go to sleep
04:53The task, dear
04:54Caravaggio took his name from the city.
04:56Just like you would say about a Doumitian
04:58Or Al-Qasyuti
04:58And Da Vinci's outfit, which by the way, meant
05:00From Vinci
05:01Carvajgio
05:02He will become very famous for his city's name.
05:03for him?
05:04So that they can differentiate between them
05:05And among the legendary artist
05:06Michelangelo
05:07The one who was just dead a few years ago
05:09His work is still present in people's minds
05:11The most important person
05:12In the life of Caravaggio
05:13Our artist
05:13He will be his mother
05:14Who was the source of protection and comfort in his life
05:17Especially after Bo died from the stab wounds
05:19He is still a young child, only 6 years old.
05:21My dear friend is staying with his mother for a while.
05:23Then she also dies when he is 13 years old.
05:26That's how Caravaggio loses his whole family.
05:28If we go back to the painting
05:29The pure one, in the words of some analysts of Caravaggio's art
05:32The expression of sadness in this painting
05:34Not my religion
05:35But he is human
05:36self
05:36Specific
05:37The Virgin's body, as I explained to you
05:39Human, not perfect, not enlightened
05:41Six ordinary tired bodies
05:42She was almost a housewife who toiled and suffered in this world
05:45Who exactly is it?
05:46His mother
05:46Even Mary Magdalene, who was crying on Sunday
05:48Some researchers considered it to be a representation of Caravaggio himself.
05:51Or more precisely
05:52The child inside her
05:53The one who is still standing in front of his mother's body
05:55The one who dies doesn't speak, he just cries.
05:58It is the greatness of the painting and its artistic village
06:01And they are found in large museums today
06:03It will not save him
06:04The people of Al-Raghban rejected it and it was removed from the church.
06:06Like a painting, my dear
06:07Today it is found in the Louvre museums
06:08So why don't you go? Go see her.
06:09The death of the parents is certain
06:11Caravaggio's childhood was shrouded in sadness
06:13Juman made her childhood difficult and harsh
06:15And this, my dear, will make Ali Atef
06:16If he needs to work and be self-reliant
06:18We might find him in the same year his mother died, for example.
06:20He's going to sign a four-year coaching contract.
06:23With the artist Simon Petrizian
06:24This was a very important foundational period.
06:26Because of his tolerance, he sees the symbols of art in Milan.
06:28For example, he saw Da Vinci's Last Supper
06:30Lombard art
06:31Those who appreciate simplicity and attention to detail, natural
06:34natural
06:35Here are some examples of it
06:36What you see on the screen
06:37God, Abu Hamad, that's beautiful.
06:38Okay, this is all good stuff, Abu Hamad.
06:40It's great that time didn't give up
06:41And he preferred to work
06:42Sorry, my dear Caravaggio
06:43And it's possible that he experienced it in his life
06:45He is described as being arrogant, rebellious, and quick to anger at that time.
06:49His mood swings are very extreme.
06:51I love drinking and drinking.
06:52He's always ready to get involved in any fight.
06:54This made dealing with her difficult.
06:56I will finish during this training period.
06:57In 1591, Hespe Milan
07:00He will go to Rome
07:01Why? Because it happened in many languages against him.
07:04Abu Ahmed wounded a police officer
07:06By cutting off his obedience
07:07Carvajgio arrives in Rome
07:08He is very poor and his situation is difficult.
07:10My dear, things will stay like this until he starts working with someone named Giuseppe Scherazzi.
07:14This, my dear friend, is the favorite painter, Abd al-Baba Clement VIII
07:17His specialty was drawing appearances and fruit.
07:19At this time, Shirazi would begin to use a drawing style called chiaroscuro.
07:23This is a term that refers to training between light and darkness.
07:26This technique will describe the contrast between darkness and light.
07:29I feel that the artist can work beautifully on the emotions and mood of the painting and the mood of the character.
07:35Which he is working on, the basic character
07:37Honestly, Abu Ahmed, I'm a sportsman
07:39I don't understand, can you explain?
07:40Thank you, my dear, for asking me this question.
07:41Laba Azizi, I don't understand.
07:42Let's look at this in a Caravaggio painting.
07:45Boy and this is a basket of overflow
07:46The boy with the basket has a hole
07:48If you look at this painting, you'll feel that Caravaggio's talent was beginning to mature.
07:51He started to become somewhat well-known afterwards.
07:53You also see a well-known painting of him
07:54The Fortune Teller painting
07:55This looks like a scene from everyday life in Rome.
07:58A young man named Qaniq believes he is a friend of Caravaggio.
08:01And with him stood a girl from Gigar, with a big, round face.
08:03Your copper is a little Turkish, my dear.
08:04You will find that what appears to us as an innocent reading
08:07It's actually a scam
08:09At the time when the girl was holding the young man's hand
08:12And it depends on his future
08:13Her other hand gently slips on his ring.
08:15This, my dear, is one of the fundamental features of Caravaggio's art.
08:18He chooses a seemingly traditional topic
08:20C. Bashad, my ordinary day
08:21But he expresses it with a new perspective.
08:24And if he wanted, he could add a plot twist in the middle.
08:26Action is happening
08:27Not just a beautiful painting, a sweet murmur
08:29Beautiful compositions, sweet elements
08:31No! I'll add action
08:33I'll steal it
08:33I'll put a fiancé
08:34I'll put some things you should pay attention to if you focus.
08:37At that time, my dear, most artists of his era
08:39They were drawing noble things
08:40They draw religious themes
08:41Moral needs
08:43Legendary things
08:44The society at that time was conservative in nature.
08:46The church is the most important source of inspiration for artists.
08:48We need to do things that the church will approve of.
08:51So that we can get support from the church
08:53Its popularity would then extend to this society
08:54He decides to film the footage
08:56The least noble in the reality of European life
09:00In your daily lives, you artists choose what is beautiful, noble, sweet, ethical, and sacred.
09:06I will choose the ugly one
09:07I will choose the one who is morally deficient.
09:09I will portray the reality of society
09:11I'm a man who has eyes, my brother.
09:12At this point, we will see Caravaggio's distinctive use of shadow and light.
09:16Which is like I told you, the carousel
09:17The drug is powerful and domineering towards presidential figures.
09:19The young man is not aware of what is happening.
09:21And the girl looked with a look of conviction.
09:23It's as if she's making us, as viewers, complicit in this deception.
09:27This was a new kind of drawing for the community at that time.
09:29Therefore, this will make this a successful business.
09:32Actually, this drawing will be used to create two drawings.
09:34But many people will imitate her.
09:36They will make it more and more famous
09:38And my dear friend, the painting has been published.
09:40But the most important success this painting will bring him
09:42She'll introduce him to someone named
09:44Francisco Maria de Monte
09:46Cardinal de Monte
09:47This man, my dear, was a sponsor of the arts.
09:49A very important patron of the arts world at the time
09:51A man who loves beauty and loves intellect
09:53Unlike the majority
09:55The man was open to new things
09:57and different needs
09:58Especially if it involves courage and humanity
10:00We want to do things from the street.
10:01Living the pulse of the people
10:02And of course, my dear
10:03Rafajo was outstanding in this
10:05I want to sign me
10:06Take
10:06The truth, my dear
10:07Those surrounding Delmonte, this cardinal
10:09Those who love Sponsor of these things
10:11Hastgharb
10:11How does a young man see a troublemaker and a violent person?
10:14Jarban
10:15But for Monty, Ken Da was an artist.
10:16He saw that this boy as an extraordinary talent
10:19Rogue Talent
10:20Untamed
10:20One day, my dear
10:21He took Carvajal under his wing
10:22He lives with him in a palace
10:24Plat Zuma Dama
10:25Sponsor Chip D
10:26It will change Carvajal's life forever
10:28Because he will take away from street life and the neighborhood
10:31To the middle of high culture
10:33Cardinal will present it to the top edition in Rome
10:35Nobles, religious figures, and artists
10:37That, my dear, is what Carvajal needed.
10:39Care and Trust
10:40And here Carvajal's talent will explode
10:43He will become the most important rising artist in Rome
10:45And she will ask him for paintings of churches and palaces
10:48And here we begin to find a strange phenomenon
10:50Palaces and churches
10:52It accepts paintings by an artist
10:54He removes what is sacred
10:56And what is sometimes beautiful in his art
10:59And he reveals his true nature with a very attractive and very shocking art.
11:02At the end of the sixteenth century and the beginning of the seventeenth century
11:05You will start to experience recurring problems.
11:07Oh God, protect us and grant us goodness.
11:08Problems will begin to arise between Carvajal and the Church
11:11Carvajal portrayed saints as ordinary people.
11:14He dresses them simply and without any fuss.
11:16By the way, my dear
11:17Carvago protection will remain attractive for decades
11:20If not for hundreds of years
11:21I'll see if anyone is coming, like Pablo Picasso.
11:23He is painting the mural of Geronica
11:24The one we talked about in the Barcelona family, if you remember
11:26He will say that he himself paints a realistic beauty to the point that you can smell it.
11:30Hassan Caravaggio's costume in the painting Conversion of St. Paul
11:32And modesty is one of Caravaggio's most important friends
11:35In the making of this realistic painting and this realistic art
11:38It's like I told you, light and darkness.
11:40He will begin to develop the chiroscoro style.
11:41And he invents another style from it
11:43His name is Terry Bezem
11:43This is an Italian word meaning gloomy or dark.
11:46In some paintings, for example, that use this technique
11:48You'll notice that the background is black in one way or another.
11:51The main figures in the painting are connected to light.
11:53It's as if they're emerging from the heart of darkness.
11:55Also, the light itself is very concentrated.
11:57It's like a beam of light from a spotlight or a small window.
12:00In a dark room
12:01Anyone who makes a problem with the church
12:03Is it Carvajal who will bring the saints?
12:05They forced his features
12:06Without the aura of light
12:08The idealism we're used to in art from before.
12:16It will make them quicker for a particular dramatic moment.
12:19A human moment filled with tension, doubt, conflict, and violence
12:22And the light that dispels the darkness reveals all of this.
12:25That's why, my dear, if you look at this painting
12:26You won't find many decorations or ornate backgrounds.
12:29But you'll always find a bright face
12:31And eyes that shine in the darkness
12:33Carvago is telling you to look here
12:34Everything happens here
12:36In my opinion, this technique was not merely an artistic embellishment.
12:39No, this reflects Caravaggio's philosophical view.
12:41This means that true faith is born from moments of darkness.
12:45From moments of nothingness
12:46From the moments of
12:47Uncertainty
12:48Not from artificial light
12:49These halos that build us
12:51We will see paintings by great artists
12:53By embodying zero Judaism
12:54We have a story about a Jewish woman
12:56Her name is Yehudat Judat
12:57I killed the Assyrian commander
12:59So that it could move its people from the invasion
13:01If we saw a painting by a great artist like Bogotás Shelley
13:04Judat appears as an elegant goddess
13:06She's carrying a sword, but her face is filled with the serenity of a rose.
13:09The source of its infection is not clear.
13:11The idea here is more symbolic than bloody.
13:13Beauty triumphs without bloodshed
13:15Also, if we saw a painting by a great artist like Tetin
13:18We find Jewish women wearing dresses of pride.
13:20In a kind of attraction and seduction
13:22severed head grip
13:24She exuded strength and confidence
13:25It was as if she had triumphed through her beauty and charm before she triumphed through her foolishness.
13:29Also, in a painting by a great artist like Al-Jarjouni, there are Jewish women standing amidst a green space.
13:33Taisa calmly and solemnly sat on the severed head.
13:36There is no blood, no anxiety, no tension.
13:38If you, my dear subscriber, have noticed these signs
13:41Focus on beauty
13:43No drama, no suspense
13:45They are all post-event drawings
13:47The end of the "Razlusha" that we all love in movies
13:50The happy ending: truth, goodness, and beauty triumph.
13:54When we came, Caravaggio's uncle, Muhammad Khan, who owned art, became our uncle
13:58Why choose the most dramatic moment?
14:00The moment of beheading itself, not before, not after
14:03If you look at the Jews here, you won't find a sense of victory or happiness.
14:07On the contrary, it feels like she is killing her enemy, a moral and psychological struggle.
14:12There are two conflicting feelings inside her
14:14Between the determination to do this and the rejection of the idea that she would kill
14:17The young man says, "I won't kill anyone, but I'm forced to do this."
14:21As for the enemy, we will witness a terrifying moment between life and death.
14:24Because the process of beheading him had already begun.
14:26But she hasn't castrated him yet, he's still alive, but she's crushed me, he's going to die anyway.
14:31Carvajal understands algorithms well, even if he hasn't attended TikTok.
14:33People would have been distributing the black [black] to him
14:35Get into the action
14:36A scenario is unfolding, my dear, that tells you
14:37That's what Caravaggio does; he brings you a picture of a painting.
14:41No movement, no action, no background music
14:44I'll choose a fast-paced scene with all the action.
14:47Action Glory
14:48Carvajal, that scoundrel, also adjusted his head position.
14:50They separated a small part and moved it to the right.
14:53Unlike most painters
14:54Those who make the scene look clean
14:56Caravaggio will make the scene have flowing blood.
14:59Muscles are tight and the neck is cracking
15:01This is Tarantino before there was Tarantino
15:03The protected area of Al-Saimiyah is distinguished.
15:04A moment of death occurs while you, as a bystander, witness it.
15:07Also, my dear, the characters in Fikent Ras are nice.
15:09Judat, a small, weak girl, cuts off the head of her enemy, a strong man.
15:15The drunkard who tries to seek help from anyone but can't
15:17The maid, who was mostly depicted in paintings
15:20As an obedient little girl, she helps Judith
15:22Here are pictures of her; she's usually 6 old women.
15:24I'm waiting for this moment and ready to remove the severed head.
15:26Her gaze held both bread and enthusiasm for the act of killing.
15:29This makes the scene more eager for his foot.
15:31Expressions that made some people, my dear, think that this maid was actually the devil
15:35And of course, the vibrant colors and the empty space that encompasses the two characters.
15:39The lights pointing at them from the right highlight this dramatic moment.
15:43Of course, my dear, the religious figures will tell you when you get off here.
15:45What are you doing?
15:46But they see in it a kind of rudeness and excessive violence.
15:49They also feel a sense of respect for sacred stories.
15:53But my dear, despite these incentives
15:55People, especially young people, were impressed.
15:57Because they saw in it a new vision of art, far removed from the idealism that previous art had pursued.
16:03They saw the stark truth, they saw the pen, they saw the weakness, they saw the evil.
16:07This was rare for them.
16:08Because of Caravaggio's boldness, many young artists made their own versions of this scene.
16:13For example, an artist named Artemisia Gentlesky
16:16Which increased the violence even more and made the Jews stronger
16:18Because this artist was raped as a child, she will replace the face of the enemy with the face of the person who raped her.
16:23We also see the artist Cristafano Gallori
16:26The one who drew a version with a greater balance between beauty and violence
16:29This is a version that Caravaggio liked as a character.
16:30The truth is that the violence in Caravaggio's paintings was not a product of his imagination.
16:34But Al-Tuser was driven by the violence he witnessed in his daily life.
16:38It is true that Caravaggio was the most important artist in Rome at the time.
16:41His fame was overwhelming.
16:43But this fame wasn't solely due to art, but also to his violence and crimes.
16:48Once, he was sitting at the base of his grazing land in Delmonti.
16:51He gets into a fight with an aristocrat
16:53He raised the price during the summer and cut off his house.
16:56So I imprisoned him
16:56And again, he and his friends beat up someone.
17:00We'll see, my friend, the matter doesn't end here.
17:02Once they beat a man in the square
17:03Once, Betlam and his friends beat up a guard in a castle.
17:06Rather, it comes
17:06We see him again, arrested for carrying a sword or dagger without a license.
17:11And once he threw stones at an officer
17:12And once he was forced to flee Rome altogether for weeks.
17:16Why? What did he do?
17:17Court employee assaulted
17:18Karfagia Aziz had his card cut off
17:20And, my dear, the situation was difficult for the people.
17:22The man is a criminal, ill-mannered, and a thug.
17:25But he's an artist whose story is truly sweet.
17:28People are impressed by his work.
17:29Look, for example, at his painting
17:30This is Saint Matthew
17:31We will see, my dear, a wonderful work that reaches the level of perfection.
17:34While Jesus was being led away from there
17:36He saw a man sitting at the tax collection point
17:39What's his name?
17:40He said to him, "Follow me."
17:41So he got up and followed him
17:42In English, my dear, we read about an immediate reaction.
17:44A fleeting need
17:46But Karfaji
17:46Wait, wait, wait
17:47Wait, wait, wait, just stop!
17:48No
17:49Where's the drama?
17:50He went to the drama club here
17:51In this painting, my dear, a moment of doubt is created.
17:53We will find Christ pointing at him and saying to him
17:55Follow me
17:55But then we find a moment of doubt from the saint
17:58He points at himself and says, "Who?"
18:00I?
18:00If you buy me, my dear, with Noukha Cinema lenses
18:02The scene depicted is closed
18:04window
18:05Sha'ada penetrated the place
18:07Contrast factor between light and shadow
18:09His game
18:09This gives me a strong sense of the drama and excitement of the moment.
18:12But this duke is still not a normal duke.
18:14Because we can't see its source here.
18:15It's like this, or as you might say.
18:17Closer to the oases
18:18We can say that it is a symbol of the presence of Christ and the light he brought to the world.
18:22He is spending the night in the light while the others are still in darkness.
18:26We also find Saint Peter standing next to Christ.
18:28In reference to being his closest disciples
18:30The table on which the saint and his companions led
18:32A very ordinary table
18:33There are no religious symbols in the background.
18:35As usual, religion is stripped of its sacred form in this situation.
18:38We find him again, my dear, this holy figure, sitting among the people, with money in front of him, ledgers in front of him, and with his colleagues and tax collectors.
18:47Amidst all this, Christ stands calmly in the shadows
18:50There are no halos or angels around him.
18:52And an outstretched hand calling upon the saint, but again, not with holiness or grandeur.
18:56No simple hand can point quietly and change a person's destiny.
19:00You'll notice the similarity between Christ's outstretched hand in the painting and the hand of God in whose painting is the creation of Adam? Michelangelo's.
19:06The similarity points to the idea of creation and spiritual rebirth.
19:10The hand gives a second life, a new life to the saint and to every believer.
19:14Look again, my dear, at the saint, you won't find him happy.
19:16He is in a state of shock, a very rare moment in religious art.
19:20Because when most artists depict saints, they clearly show acceptance, submission, and surrender.
19:26But Caravaggio is telling us here, in one way or another, that true faith comes from the heart of doubt.
19:30Amidst the busyness and hustle of life, and amidst the sense of responsibility that comes when a person becomes a believer
19:37You don't become a believer, you become a responsible person.
19:40You do some things and you don't do some things
19:42This, my dear, is not just a painting; it's a psychological and artistic experience influenced by a new reality.
19:48In fact, from the earliest times in European art, we saw a certain form
19:52These sacred drawings blend together in a beautifully innocent way, containing sweet things, everything you could expect.
19:58The guy comes along and tells you, "No, these things aren't that beautiful."
20:01These things are challenging, and because they are challenging, they become more beautiful.
20:05Because it contains violence, because it contains tension, because it contains distrust, because it makes the form beautiful, it becomes a wall.
20:12There's a movement of the legs
20:14We still don't know what will happen; you'll see, but you won't know how the painting will turn out.
20:18This, my dear, is what I truly see as beautiful in the Caravaggio painting, a form that even today influences artists like Picasso, whom we were discussing.
20:25And great artists and great directors, that's all for today.
20:28Perhaps, as we said, Caravaggio's personality is capable of explaining his art.
20:31But to explain the success of his art, we still need to look at his era.
20:35The one who was completely unsettling to someone like him
20:37If Caravaggio had come before, no one would have accepted him; he would have been bothered by this tense, bloody, dramatic style.
20:43Shake this situation where there is no sanctity regarding drugs.
20:46If we go back, my dear, to the year 1606, the year in which we began our episode
20:49We will find Caravaggio, the most famous in Rome, who divided the people around him into two groups.
20:53A team of fans, followers, and disciples—may God enlighten them—their name is Carvajistie.
20:57The Serbian house dress is loved by its mother.
21:00On another note, we now have a group criticizing him, seeing him as corrupting public taste, a criminal, ugly, and vulgar art form.
21:06So much so that they called him the artist of ugly feet.
21:09Because in Caine's paintings, the saints appear poor, barefoot, and with dirty feet.
21:13But my dear, as you know
21:15These criticisms only increased his fame and appeal to his audience.
21:20Perhaps the most fitting title for Caravaggio, my dear, is that of the founder of brocade painting.
21:25This is very strange, my friend, and let me tell you why: because the Broccoli movement began ten years before Caravaggio was born.
21:31We both explain that between 1545 and 1563, the Trent confluence occurred 25 times.
21:37This is one of the most important church councils in the history of the Catholic Church.
21:41And it was dealt with as a reaction to the Protestant Revolution, which Luther had twice taken over.
21:46The man was attacking the clergy at the time because of the corruption of the Catholic Church.
21:51And accusing her of turning the church into a tool against the people.
21:54The church convened and invited religious, artistic, and political figures to begin working.
21:58The reform of De Achilles will make people feel a sense of faith again.
22:01The church recognizes the importance of art and almost sees it as a very important means of strengthening people's faith.
22:06Art is not just about displaying beauty and ornamentation.
22:08No, the influence must be impactful on people in order for them to understand their faith and retain feelings towards the saints, thus reinforcing the faith.
22:16Art that makes them feel the faith
22:18Art that makes them feel guilty
22:20Art that makes them feel liberated
22:22The Renaissance era was marked by artists like Da Vinci and Michelangelo.
22:25Their paintings are perfectly balanced
22:27The composition of the paintings is calculated with a ruler.
22:28It's like a picture taken with a camera.
22:29The lighting and composition are well-balanced.
22:31Its primary goal is to showcase perfect beauty.
22:34The drawing of the Marouq is now a little different, my dear.
22:36It's like a dramatic movie scene at its climax.
22:40Humanity remained a part of the Renaissance era.
22:42This isn't a joke, Faraj, on someone who's doing this.
22:43We don't know if you're looking at me and I'm not looking at you.
22:45And we say this is art
22:46In movement, emotion, and drama
22:48The colors are strong and contrasting between light and darkness.
22:52The characters seem to be burning
22:53The pen is blaming
22:54Or she screams in fear
22:55Or she explodes with emotion
22:57The goal is art, my dear, not beauty.
22:58The goal is for the artwork to shake you to your core, to shake you to your core.
23:01It makes you feel like you're with them in that moment.
23:03Understand their feelings and understand their emotions
23:04Feel
23:05Brooke isn't talking about reason.
23:06Brooke isn't talking about morals.
23:08Brooke is talking to emotions
23:10This is where Brook emerged as a comprehensive artistic movement.
23:12In literature, architecture, music, and everything
23:14And of course, the messengers were the perfect instrument
23:17To express the new vision of the Church
23:20Carvajal, which was abandoned approximately ten years after this statement.
23:23The optimal oxidation of the church hairs
23:25The art of stirring emotions
23:26With decoration
23:27Indeed, over time, the founder of this art form remained...
23:30But my dear
23:31While the Brook was fueled by political and religious transformations
23:34Caravaggio's art will always be nourished by only one thing.
23:36violence
23:37The violence will start to escalate and increase.
23:40In May 1606
23:41Carfajo, my dear
23:42He doesn't insult anyone
23:43He doesn't insult anyone
23:44He doesn't give anyone a drink
23:45He doesn't hold his sword to threaten anyone.
23:46no
23:47This kills someone
23:48Ranucci Tomasone
23:49The distance said it was a fight in Match Bala Korda
23:52This is a game similar to tennis in their country.
23:53The topic evolved to the point where Carvajo tasted
23:56One account will say that it was a duel between them.
23:58The reason could be that Caravaggio was in love with a prostitute.
24:02In this novel, Caravaggio was so violent
24:04Especially this man before he killed him
24:06Carfajo, my dear, is committing a crime.
24:08The Pope sentenced him to death
24:10And here Carfajo is, from the country
24:13He's running away because it seems the violence he was transmitting
24:15Some people want to apply it to him.
24:17He begins to flee to Naples, which was under the rule of the Spanish crown.
24:19Napoli will welcome this fugitive killer.
24:22As an artistic legend
24:23And immediately, we will take care of him.
24:25This is a wealthy and influential aristocratic family.
24:27It will provide him with protection and financial support.
24:29And every painting he created still shocked and amazed people.
24:33And there continued to be races between the singers and the nobles to buy the Caravaggio board.
24:37And in Naples, my dear, he painted some of his greatest works.
24:40For example, the seven works of mercy and the scourging of Christ
24:43Paintings in which you will feel a clear transformation in his spirit and art
24:47It was as if escape and exile were reflected in every brushstroke.
24:50So the darkness remained, and all that remained was violence, regret, and a pen.
24:54After my dear, a year of Arabization in Naples
24:56In the summer of 1607, Carvajal traveled to Balta.
24:59Which was under the rule of the Knights of St. John
25:02This is a powerful religious military group
25:04They have ties to the father and wield political and military influence.
25:07Carvajal was going there trying to seek asylum
25:09He himself wants to take a title at a wedding with them.
25:11If he had taken this title, it might have helped him.
25:14He's getting a pardon for that heinous crime!
25:17He did it in his own country, and then he can return to Rome.
25:20Indeed, my dear knights were very impressed by Caravaggio, and he painted a picture glorifying them.
25:25So they owe him the title of knight.
25:27God is great, so sweet, so beautiful, Abu Ahmed
25:29The world is opening up to him, and hopefully, he will be pardoned and able to return to Rome.
25:34Carvajal gets into a fight with a knight higher up in the corridor
25:37He was arrested and imprisoned in the Citadel prison.
25:39One of the most heavily fortified prisons
25:42But my dear, is our story over here, Abu Ahmed?
25:45No, of course not. Caravaggio, with his strange, mysterious life and the fate that keeps forgiving him once, twice, ten times.
25:52Carvajal manages to escape from a prison that is very difficult to escape from.
25:55And the knights stripped him of his title and preferred to expel him.
25:58But my dear, before Carvajal escapes, he leaves us with a wonderful piece of work as usual.
26:02So you're just going to let her tell you that she's a bad character and that's it? Is that all there is to it? No.
26:06I have to torture you, I have to make you lose your mind, even if he's ugly but sweet.
26:09Carvajal, my dear, presents us with his largest paintings in two sizes
26:12John the Baptist was beheaded
26:14In the religious story, my dear, John rejects the marriage of King Cyrus to his brother's wife, Herodias.
26:19The six women send their daughter Salome, seemingly to dance for the king and appease him, and she asks for her reward: the head of John the Baptist on a platter.
26:26As you might expect, my dear, most artists draw this picture at the end, after the action has already happened.
26:33Either John's head will be cut off or Salome will be carrying it.
26:36Carvajal, as usual, chose a dramatically clever moment.
26:40This will destroy itself
26:41We see John lying on the ground, still breathing and bleeding.
26:45The executioner grabbed the small knife to finish him off
26:47After Quridi had already hurt them with a long slap
26:49We see the prison guard standing there, turning the wall.
26:51Salome is carrying a tray of gold, waiting for the head, and her maid sees this and is shocked by what is happening.
26:57But if you notice, the strange thing here is that she's covering her ear, not her eyes.
27:00Covering the issue is a human reaction to violence and a pen we are powerless to confront.
27:04But we are still powerless to see, to look away, to close our eyes.
27:08The maid couldn't hear Johanna's pen, but Still saw death with her own eyes.
27:12On the right side of the picture, we'll find two people trapped, watching what's happening.
27:15Is it someone's turn?
27:17Caravaggio wants to show us that there are characters in the background
27:19They see this horrific accident, but they remain silent and try to escape the truth.
27:23If we go back to the characters, my dear, then the established ones, Yohanna
27:25We will find a portion of pain and suffering hidden beneath a sheep's wool.
27:28It contains a reference to sacrifice.
27:29If we look more closely at his blood, we'll find that Caravaggio is doing what artists do: signing his name, but with blood.
27:36F Michelangelo, which means Brother Michelangelo, my dear, the only time Caravaggio fell on our canvas
27:42This opens the door to many interpretations, including that Caravaggio is talking about personal feelings.
27:46Caravaggio was a victim of his own sins, follies, and contagiousness towards others.
27:51The feeling is perfectly normal for someone who is a refugee and a fugitive, and is trying to repent.
27:55Caravaggio also knew the importance of the Church's testimonies, so why would you say that? This strange signature is as if he's asking for intercession; I feel that maybe the Pope will see this and pardon him.
28:03In late 1608, Caravaggio arrived in Sicily, which, like Naples, was part of the Kingdom of Spain. He arrived feeling angry and alone.
28:10The man is constantly running from place to place, and his life is in turmoil.
28:13And at the very moment, my dear, when we think he's going to calm down and relax, his aggression will actually increase.
28:18To the point that if anyone criticizes anything in his painting, he'll tear it up. Any small word criticizing something in his painting, the day I tear it up, he starts to become a drunkard and begins to isolate himself from people.
28:27Especially since there are no more sponsors, no one is saving money anymore, and he can no longer secure his future or enjoy the good life he had before.
28:33He was always, my dear, so anxious that he would sleep with his weapon in his lap.
28:38But my dear, amidst this psychological breakdown and feeling of depression, I don't know what to do anymore and I don't consider myself safe.
28:45Caravaggio will begin to return to his old ways, painting a great work of art, for example, a painting like The Raising of Lazarus, The Burial of Saint Lucy, and The Adoration of the Shepherds.
28:53In 1609, after growing tired and fed up with Sicily, he returned to Naples, but still faced the same danger.
29:00And whoever returns to him, going around in circles and back again, will expose him to an assassination attempt.
29:05Trying to steal him, my dear, will only disfigure his face.
29:09To the point that people will talk about him dying, and Ash'ad will come out and say that this man died.
29:12You might think that the man's career is over and that's it, but you're here, so he'll never create another great painting.
29:18A painting that embodies his inner struggles: You are all I need, a pen, to bring forth art from me.
29:22Here, my dear, we stop at the tablet of David with the head of Goliath.
29:25Which might be his most self-portrait
29:27And the most striking image is of his psychological decline in the last years of his life.
29:30The painting, my dear, depicts David after he beheaded Goliath and defeated him.
29:34It contains David, a young man with sad features.
29:36He held the huge head of Glut in his hand
29:38Ras Jalout, who is from them, is a pen and a shock.
29:41By the way, this wasn't the first time Caravaggio painted this scene.
29:44But what made this painting unique is that Glauth's face is actually Caravaggio's.
29:47And the surprising and beautiful thing is that Daoud's face also resembles Caravaggio's, but when he was young.
29:54This dear one is depicted and embodies a historical religious story
29:58It's a kind of personal reckoning; the younger Caravaggio is holding the elder Caravaggio accountable and taking revenge.
30:04He regrets his decisions and has a desperate desire to repent.
30:07He tries to overcome the negative aspects of his personality.
30:10He takes his revenge by cutting off his head, just as David cut off Goliath's head.
30:15In 1610, news began to arrive from his patrons in Rome saying that there was hope that the Pope would grant him a pardon.
30:21When Caravaggio becomes convinced that he must return to Rome because he can no longer bear his life of running away
30:25And indeed, my dear, he embarks on a sea voyage from Naples and unfortunately never reaches Rome.
30:31On July 28, 1610, a newspaper published the news of Caravaggio's death.
30:36The truth, my dear, is that Caravaggio's death will be just as controversial as his life.
30:40Firstly, it's doubtful when did this happen? For example, one of his friends might say that he died before.
30:45And a debate will begin among historians as to whether he died of fever on his way back to Rome.
30:49And it didn't die, it was called lead, which was present in large quantities in the materials used.
30:53Did he kill his enemies like the Knights of Malta?
30:55What I'm telling you, my dear, is that in 2010 there was a study that said malaria could be the main cause of death.
31:00It's sad, my dear, that on this long journey, you needed me, and these incredibly important works of art are available in the most important places in the world.
31:07Carvajal died at the age of 38.
31:10Despite his relatively short and very turbulent career, Caravaggio left us an art that will never die.
31:15Sab wrote poignant messages about pain, regret, and the search for redemption.
31:19And it's possible that this wonderful reporter was left behind because of the disturbances that existed in his journey and his personality.
31:24Even if we disagree about his paintings, his lifestyle, and his personality, we agree that he will always live on amidst all shadows and light.
31:32Every eye that gazes upon his paintings asks, "What was this man thinking? What was he feeling?"
31:36Perhaps, my dear, the secret to his immortality is that he showed us that faith and salvation don't necessarily come from above or from a revealing light.
31:42But actually, it can start from the darkness within us.
31:45The darkness that we were able to gradually enter
31:47That's all, my dear. It's not the end of the world, though. I hope you'll watch Caravaggio's paintings because he truly is a great artist, very important and influential on subsequent art and cinema.
31:55If you look closely at the fragments of the painting, you'll find that it has many similarities to films we know.
32:00So, my dear, I advise you to look at the painting and to consider the past life in the next one. Look at the sources; if we're on YouTube, subscribe to the channel.
32:06Once, my dear friend, Caravaggio was walking in Italy when he spotted a Suez resident. He said, "Mr. Suez, may I draw you?" The Suez resident agreed. Caravaggio said, "Go ahead." Caravaggio began to draw. The Suez resident said, "That's not how you draw it, my friend."
32:17I'm lala lala lala