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The Conversion of Saint Paul, Luca Giordano, 1690, Museum of Fine Arts of Nancy The Conversion of Saint Paul, Caravaggio, 1600. The conversion of Paul the Apostle (also the Pauline conversion, Damascene conversion, Damascus Christophany and Paul's "road to Damascus" event) was, according to the New Testament, an event in the life of Saul/Paul the Apostle that led him to cease persecuting early ...
The Conversion of Saint Paul (or Conversion of Saul), by the Italian painter Caravaggio, is housed in the Odescalchi Balbi Collection of Rome. It is one of at least two paintings by Caravaggio of the same subject, the Conversion of Paul. Another is The Conversion of Saint Paul on the Road to Damascus, in the Cerasi Chapel of Santa Maria del Popolo.
The contract signed on 24 September 1600 stipulates that "the distinguished painter, Michelangelo Merisi da Caravaggio" will paint two large cypress panels, ten palms high and eight palms wide, representing the conversion of Saint Paul and the martyrdom of Saint Peter within eight months for the price of 400 scudi. The contract gave a free hand ...
25 January – Feast of the Conversion of Saint Paul; 10 February – Feast of Saint Paul's Shipwreck in Malta; 29 June – Feast of Saints Peter and Paul (with Peter the Apostle) 30 June – Former solo feast day, still celebrated by some religious orders; 18 November – Feast of the dedication of the basilicas of Saints Peter and Paul
The Conversion of Saul is a fresco painted by Michelangelo Buonarroti (c. 1542–1545). It is housed in the Pauline Chapel (Capella Paolina), Vatican Palace, in Vatican City. This piece depicts the moment that Saul is converted to Christianity while on the road to Damascus. Pope Paul III commissioned the work for the chapel of his namesake. The ...
The Conversion of Saint Paul is a c.1675-1680 oil on canvas painting by Bartolomé Esteban Murillo, acquired by Charles IV of Spain and now in the Prado Museum in Madrid. [ 1 ] Description
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The Conversion of Saint Paul is an oil painting on canvas of 1527 by Parmigianino, now in the Kunsthistorisches Museum, in Vienna. [1]It was seen in the house of Giovanni Andrea, a major figure in Parma, by both Giorgio Vasari (1550) and Lamo (1560).