Let This Be a Lesson: Lecture 3

Benvenuto Tisi, called il Garofalo, The Conversion of Saint Paul, ca. 1525. Oil on panel. Yale University Art Gallery, Leonard C. Hanna, Jr., Class of 1913, Fund

Darkness to Light: Garofalo’s The Conversion of Saint Paul

Friday, September 27, 2013, 1:30 pm

In this painting, a recent acquisition, a gifted Renaissance artist portrays a critical moment for the early Church. We look at how Garofalo treats what happened to Saul on the road to Damascus and what that might signify.

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Lecture Video

John Walsh presents Let This Be a Lesson: Lecture 3.

Recommended Readings

Of the limited writing in English on Garofalo, the Jill Dunkerton, Nicholas Penny, and Marika Spring article is well illustrated and deals expertly with the artist’s working methods and materials. Marco Tanzi’s encyclopedia entry gives a useful summary of the facts and has a good bibliography. The articles on Saint Paul in the Cambridge Companion consider his biography and contributions to Church thought.

To access subscription-only articles, or for assistance with any of the below materials, please visit the Nolen Center Library at the Yale University Art Gallery.

On the Artist

Dunkerton, Jill, Nicholas Penny, and Marika Spring. “The Technique of Garofalo’s Paintings in the National Gallery.” National Gallery Technical Bulletin 23 (2002): 20–41.
Access Online

Vasari, Giorgio. Lives of the Most Eminent Painters, Sculptors, and Architects. Vol. 8: Bastiano to Taddeo Zucchero. Trans. Gaston du C. De Vere. London: Project Gutenberg, 1914.
Access Online

Tanzi, Marco. “Garofalo.” In Grove Art Online (by subscription only).
Access Online

Freedberg, S. J. Painting in Italy, 1500–1600. New York: Harmondsworth, 1971: 269–72, figs. 170–71.

On the Subject

Acts of the Apostles 9, 22, 26. (See also Epistles: 1 Thessalonians, 1 and 2 Corinthians, Galatians, Philippians, and Romans.)
Access Acts 9 Online
Access Acts 22 Online
Access Acts 26 Online

Dunn, James D. G., et al. The Cambridge Companion to St. Paul. New York: Cambridge University Press, 2003. See, especially, Klaus Hacker, “Paul’s Life,” 19–33; and Robert Morgan, “Paul’s Enduring Legacy,” 242–55.

Note: For the benefit of the lecture audience, we are supplying a recommended reading list as well as links to useful online sources. Any author or publisher who believes that his or her rights have been violated should contact Rights and Reproductions at the Yale University Art Gallery at yuagrights@yale.edu.

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