I am sure that most of you have been “bitten by” or intrigued by something, an idea, an image, a research proposal J ....something, anything that you can’t forget. It’s like a dog who won’t let go of it’s bone. Well, I came upon just such by accident and like the dog’s bone, can’t let it go.
I paid 8 euros to go into a Carvaggio exhibit. In place of an English guide, who was not available, English speakers were given a pamphlet. We were expecting an exhibit of his paintings but when we entered, we realized that it was an exhibit of documents pertaining to incidents in Caravaggio’s life. The documents were in Italian and the English translation on the shelves and the pamphlet were inadequate. However, in the entrance of the exhibit there was a self portrait, (aptly entitled Sick Bachus), showing a rather sick looking man, with, black, unruly hair, garlanded with laurel leaves, a swallow complexion, wide spaced piercing, rather sad eyes and lips that were slightly apart, in a surprisingly pained, looking smirk. "Vulnerability, uncertainty, angst, confusion and maybe .... a touch of madness?", the psycholgist me speculated.
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| from Caravaggio ATS Italia Editrice |
There were 4 paintings included in this exhibit, some were his, others were copies. One was the self-portrait, the second was a portrait of a cardinal and two were paintings of David and Goliath, both of which were copies. In one of these, the depiction was of David carrying the severed head of Goliath, very realistic, rather gory and actually quite scary. That was all there was. In spite of the dearth of materials, the image of Caravaggio stayed with me and began to intrigue me. I decided to learn more about him.
Interestingly, his first name was Michaelangelo, Michaelangelo Merisi Caravaggio. He was born in Milan in 1571. Tragedy and trauma came early to Carravagio, his father dying when he was only six years old, and his mother, when he was 18. At age 20, he settled in Rome. For four years he worked in several workshops of then leading painters. He was made to paint “flowers and fruits”, and genre scenes. By that time, he was already a very angry man, picking fights, brawling constantly, and was in and out of trouble. In 1595, he met Cardinal Francesco del Monte. Working on this Cardinal’s commissions, elevated Caravaggio to the status of “prominent artist” in Roman circles. Fame and a relatively easier life did not settle “the demons in Caravaggio’s soul”, he engaged in incessant brawling, duels and fights, the violence escalating until he finally killed a man and had to leave Rome in 1606. This period of exile proved to be his most prolific. He was sponsored by several patrons but was unable to experience satisfaction or peace. He worked continuously to secure a pardon for his crime, wanting only to go back to Rome, which he considered home. However, he was never able to return to Rome, dying of malaria just when the papal clemency, allowing him to return, was granted. He died at the age of only 39.
Caravaggio, considered by some as “the most gifted realist in the history of painting”, reportedly drew from live models, often using labourers and prostitutes, the latter displeasing a number of his more important patrons. He arranged the setting of his paintings meticulously, including the lighting. He used selective illumination (chiascuro), using light and shadow, giving his paintings a very dramatic cast. I found them all very strong..... one thing is sure....they are unforgettable!
Caravaggio’s paintings are scattered throughout churches, and museums in Rome, other parts of Italy including the Uffizi in Florence, Milan, Naples, and the world, like the Prado in Madrid, the Louvre in Paris, the Met in New York, St Petersberg, Dublin, England and Germany. I decided to engage in a “treasure hunt” and look at those I could find here in Rome.
My first foray led me to 3 churches within walking distance from each other, where some of his more famous paintings, more familiar certainly as they are seen by thousands (no entry fees) are found. I walked along Via della Scrofa, a street parallel to the very busy Via Corso, leading to Via di Ripetta and ending at the Piazza del Poppolo. At the beginning of Via della Scrofa is the French church, San Luigi dei Francesi. This is a small church of no particular importance except for three paintings by Caravaggio, considered by some as his greatest works, which have hung in the Contrelli Chapel, the last chapel at the left side of the church since they were painted at the end of the sixteenth century.
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| from Caravaggio ATS Italia Editrice |
In The Calling of St Matthew, you see the tax collector (for that was what St. Matthew was) seated at a table, surrounded by 4 individuals, being summoned by Christ whose hand is extended in his direction. There is a bright light emanating from the window on the northeast side, lighting up the faces of Matthew and his associates. The other areas of the scene are in shadow. Matthew’s consternation is clearly visible. He is pointing to himself and appears to be asking, “Who me?”
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| from Caravaggio ATS Italia Editrice |
St. Matthew and the Angel is a depiction of an angel inspiring (or castigating?) St. Matthew. Matthew is half kneeling on a stool, turned toward the angel with his left arm leaning on a book and his right hand holding what looks like a writing instrument. The Angel is draped in a white, flowing robe and appears to be counting his fingers. The expression on Matthew’s face is one of ....wonder? ......shock? A very interesting detail, for which apparently Caravaggio is noted, is Matthew’s dirty feet.
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| from Caravaggio ATS Italia Editrice |
The Martrydom of St. Matthew is full of figures, quite confusing, and amazingly was painted directly without even a drawing! Matthew is on the floor fully dressed in what appears to be a monk’s robe, one arm raised to the soldier? .... executioner?, who is clothed in a loincloth. Matthew’s face is not visible. They are surrounded by horrified people, as seen by their facial expressions and body language. And an angel from above is handing the “palm of martyrdom” to Matthew. The light from top right shines fully on the soldier, giving his skin an ivory tone while the same light intensifies the whiteness of St. Matthew’s robes. The spectators are in shadow.
I paid the requisite 1 Euro to view the paintings under strategically situated spotlights, but was unable to linger as more people were wating to takeover the spot I had occupied. So, I moved on to the Church of Sant’ Agostino. I walked on Via della Scroffa going towards the Piazza del Popolo turned left on Via dell’ Orso to the Church of Sant’ Agostino. This is a small church, nothing distinguishing it from so many other small churches in and around Rome, except that in the sixteenth century this was the church of Rome’s creative community, and as such contains a handful of art treasures. Among these is Caravaggio’s Madonna di Loreto.
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| from Caravaggio ATS Italia Editrice |
The Madonna di Loreto or The Madonna of the Pilgrims is a depiction of pilgrims paying their respects to the Virgin and Her Child. The peasants in their scruffy clothes and dirty feet contrasts sharply with the Virgin, depicted as a prosperous woman, in sumptuous clothes, with the light showing off her delicate feet and skin. The Child, carried by Mary is naked and his skin is highlighted and is as luminous as his mother’s. There was controversy connected with this picture, not only because of the depiction of Mary and her circumstance but because the model used was a one-time prostitute, Lena, whom Caravaggio was rumoured to be in love with.
The last church on my list was the Church of Santa Maria del Popolo which is located right at the end of Via Ripetta, at the rear of the Piazza del Popolo. This church was built (1099) over the burial place of Nero, in order to sanctify what was believed to be an evil place and to drive away Nero’s ghost, which reputedly appeared regularly at this spot.
A more important reason to visit this church is that it holds some of the best Renaissance art of any other church. Among these are two paintings by Caravaggio in the Cerasi Chapel.
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| from Caravaggio ATS Italia Editrice |
The Conversion of St. Paul shows St Paul, dressed like a centurion, flat on his back on the ground with his arms flung wide open appearing to embrace light which is coming from the top right angle. He is in an attitude of surrender, of almost ecstatic acceptance. His horse is slightly below him, the hind quarters illuminated by the same light and his groom is in the shadows.
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| from Caravaggio ATS Italia Editrice |
The Crucifixion of St. Peter is a depiction of the moment St. Peter is being put on the cross up-side-down. There are three men who are straining to lift the cross and St. Peter in a loincloth is feebly trying to lift his head. The expression on his face displays excruciating pain, coupled with .... to my mind, infinite sadness and total resignation. The light shines fully on St, Peter.
The paintings I saw are very powerful, especially when viewed in-situ. I was awed by them, and for one not particularly well versed in art, something about them tugged at me, and the images remain with me.
The paintings I saw are very powerful, especially when viewed in-situ. I was awed by them, and for one not particularly well versed in art, something about them tugged at me, and the images remain with me.
Feeding an interest can leave one either satisfied or wanting more of the same. Caravaggio’s haunting images are unforgettable! I want more! The search for Caravaggios continues!
