Michelangelo Merisi da Caravaggio (Italian Michelangelo Merisi da Caravaggio; September 29, 1571 (15710929), Milan - July 18, 1610, Porto Ercole) - Italian artist, reformer of European painting of the 17th century, founder of realism in painting, one of the greatest masters of the Baroque. He was one of the first to use the “chiaroscuro” style of painting - a sharp contrast of light and shadow. Not a single drawing or sketch was found; the artist immediately realized his complex compositions on canvas.

The son of the architect Fermo Merisi and his second wife Lucia Aratori, the daughter of a landowner from the town of Caravaggio, near Milan. His father served as manager for the Marquis Francesco Sforza da Caravaggio. In 1576, during the plague, the father and grandfather died, the mother and children moved to Caravaggio.

The first patrons of the future artist were the Duke and Duchess of Colonna.

In 1584 in Milan, Michelangelo Merisi came to the workshop of Peterzano, who was considered a student of Titian. At that time, mannerism dominated the artistic world of Italy, but in Milan the position of Lombard realism was strong.

The artist's first works, painted in Milan, genre scenes and portraits, have not survived to this day.

Already by the end of the 1580s, the life of the hot-tempered Merisi was overshadowed by scandals, fights and imprisonments that would accompany him throughout his life.

In 1589, the artist comes home to sell his plot of land, apparently in need of money. The last time he visits the house is after the death of his mother in 1590.

In the fall of 1591, he was forced to flee Milan after a quarrel over a card game that ended in murder. Having first stopped in Venice, he heads to Rome.

In Rome, Merisi noticed Pandolfo Pucci, invited him to his house, provided him with a living, instructing him to make copies of church paintings.

Borromeo, who met Caravaggio during his Roman life, described him as “an uncouth man, with rude manners, always dressed in rags and living anywhere. Drawing street boys, tavern regulars and pitiful tramps, he looked like a completely happy person.” Borromeo admitted that he did not like everything in the artist’s paintings.

In the capital, according to the custom of Italian artists of that time, he receives a nickname associated with his place of birth, as was the case, for example, with Veronese or Correggio. This is how Michelangelo Merisi became Caravaggio.

In 1593, Caravaggio entered the workshop of Cesari d'Arpino, who instructed Caravaggio to paint flowers and leaves on the frescoes. In d’Arpino’s studio he met patrons and artists, in particular Jan Brueghel the Elder.

Caravaggio's early works were written under the influence of Leonardo da Vinci (he met “Madonna of the Rocks” and “The Last Supper” in Milan), Giorgione, Titian, Giovanni Bellini, Mantegna.

The first painting that has come down to us is “Boy Peeling Fruit” (1593).

In d’Arpino’s workshop, Caravaggio met Mario Minniti, who became his student and model for a number of paintings, the first of which was “Young Man with a Basket of Fruit” (1593-1594).

After the fight, Caravaggio ends up in Tor di Nona prison, where he meets Giordano Bruno.

Soon he breaks up with Cesari d’Arpino; the homeless Caravaggio invited Antiveduto Grammatica to his place.

In 1593 he fell ill with Roman fever (one of the names of malaria), and for six months he was in the hospital on the verge of life and death. Perhaps, under the impression of illness, he created the painting “Sick Bacchus” (1593) - his first self-portrait.

The first multi-figure paintings were created in 1594 - these are “Sharpies” and “Fortune Teller” (Capitolian Museums). Georges de La Tour would later write his “Fortune Teller” with an identical composition.

In these works, he appears as a bold innovator who challenged the main artistic trends of that era - mannerism and academicism, contrasting them with the harsh realism and democracy of his art. Caravaggio's hero is a man from the street crowd, a Roman boy or youth, endowed with rough sensual beauty and the naturalness of a thoughtless, cheerful existence; Caravaggio's hero appears either in the role of a street merchant, a musician, a simple-minded dandy, listening to a crafty gypsy, or in the guise and with the attributes of an ancient god. These inherently genre characters, bathed in bright light, are brought close to the viewer, depicted with emphasized monumentality and plastic palpability.

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Michelangelo Merisi da Caravaggio is a famous Italian artist, author of religious paintings. Mostly he painted young men. The author's works are exhibited in the best galleries in the world - the Uffizi, the Hermitage, the Metropolitan Museum of Art, the Louvre, the Prado.

Childhood and youth

In one of the corners of Italy called Lombardy in 1571, the future artist Michelangelo Merisi da Caravaggio was born. Researchers have still not been able to determine the exact place and date of birth, and documentary evidence has not been preserved. Perhaps the creator was born in Milan or not far from it - in Caravaggio.

Michelangelo became the eldest son in the builder's family. The artist had three brothers and a younger sister. Caravaggio did not live poorly, since his father had a good salary and a construction education.

Five years after Caravaggio's birth, a plague epidemic began in Milan. It was possible to avoid infection only by moving to another city. But it didn't help. A year later, the head of the family dies after a long illness. This period became difficult for Caravaggio.

There are many blank spots in the artist’s biography. Data about 8 years of Michelangelo’s life after the death of his father have sunk into oblivion. It is known that in 1584 the young man went to study with the Milanese Simone Peterzano. After completing the course, Caravaggio was supposed to be given the title of artist, but no official confirmation of this fact has survived.

In 1592, Caravaggio faced a new challenge - the loss of his mother. The inheritance was divided equally among the children. Thanks to this money, Michelangelo was able to travel to Rome. The artist was known as a man with a difficult character, he constantly got into fights and ended up in prison.

Painting

The first years of life in Rome were not easy for Caravaggio. The young artist could hardly earn enough for food and housing, but luck turned his way. The then fashionable painter Cesari d'Arpino accepted Michelangelo as an assistant in his personal workshop. The as yet unknown creator created still lifes on d’Arpino’s paintings. While working in the workshop, the author creates the works “Boy with a Basket of Fruits” and “Little Sick Bacchus.”

Soon, Cardinal Francesco Maria del Monte became Caravaggio's patron. The artist gained access to the creative society of Rome. In gratitude, Michelangelo presented the cardinal with his own painting “Fruit Basket”, and then several more works - “The Lute Player” and “Bacchus”.

During this period, Caravaggio produced several works that were included in the world heritage list. These are “Fortune Teller”, “Cupid the Winner”, “Narcissus”. New directions appear to the artist’s gaze - “pure” still life and “adventurism” in painting. Michelangelo's followers often used them in their works.

Caravaggio often resorted to religious themes. Among the early works one can highlight “Saint Martha Conversing with Mary Magdalene”, “Saint Catherine of Alexandria”, “Saint Mary Magdalene”, “The Ecstasy of Saint Francis”, “Judith and Holofernes”, “Rest on the Flight into Egypt”, “The Sacrifice of Abraham” .

At the end of the 16th century, Caravaggio painted two cycles of paintings telling about the life of the apostles. Some works were given to the Church of San Luigi dei Francesi, located in Rome. These paintings are dedicated to the Apostle Matthew. Two works have survived to this day - “The Martyrdom of the Apostle Matthew” and “The Calling of the Apostle Matthew”.

Two more chapels in the church of Santa Maria del Popolo in Rome are also decorated with works by Caravaggio. The Crucifixion of the Apostle Peter and the Conversion of Saul were located here. Cooperation with religious houses continued for quite a long time. Already in the 17th century, the paintings “Entombment”, “Madonna di Loreto” and “Assumption of Mary” appeared. The works were located in the churches of Sant'Agostino and Santa Maria in Valicella.

For the last few years of his life, Michelangelo Caravaggio wandered, trying to avoid punishment. Creatively, this period was rich in masterpieces. At this time, Caravaggio produced altar paintings “Madonna of the Rosary”, “Seven Works of Mercy”, “The Flagellation of Christ”. Their artist painted for Naples.

While in Malta, Caravaggio created Saint Jerome and The Beheading of John the Baptist. In Sicily, the maestro’s brush produced “The Burial of St. Lucia,” “The Raising of Lazarus,” and “The Adoration of the Shepherds.” At the end of his life, Michelangelo painted the painting “David with the Head of Goliath.” Presumably the work is a self-portrait.

One of the artist’s early works, “Boy Bitten by a Lizard,” is currently on display at the London National Gallery. The author painted the picture in two versions. Art critics are still arguing about who is depicted on the canvas. There are two versions: Caravaggio’s beloved or the maestro himself.

The Doria Pamphilj gallery houses another early work of the artist – “Penitent Marina Magdalene”. This is a rare painting of a young girl. Caravaggio paid special attention to the details: there are jewelry on the floor, a jug with a drink, and patterns on the dress.

In the Uffizi you can look at the interesting work of Michelangelo. The painting “Medusa” was created on canvas stretched on a wooden backing. This creation was created especially for Cardinal Francesco Del Monte, who wanted to give a gift to Ferdinand I, Grand Duke of Tuscany.

The painting “John the Baptist” is kept in the Toledo Cathedral. The canvas depicts a young man. There are a lot of rumors surrounding this work. Art historians believe that the authorship may belong to one of Caravaggio’s followers. Others claim that the painting was painted by Michelangelo specifically for the rector of the Hospital of Consolation.

The National Gallery of Ireland houses the painting "The Kiss of Judas". The work is based on Caravaggio's ideas about the last days of life. There is a scandalous story associated with this painting. It turned out that a copy of the painting was presented in Odessa, which was subsequently stolen. Meanwhile, the original remains in Ireland to this day.

In the Borghese Gallery, located in Rome, you can get acquainted with another work by Michelangelo Caravaggio - “Madonna and Child and Saint Anne”. The canvas shows two women and a baby. Photos of many of Caravaggio’s paintings are placed in special albums dedicated to world art.

Personal life

Michelangelo Caravaggio was unmarried. At the same time, the man preferred to draw naked young men rather than women. This led to the fact that many began to classify the artist as representatives of gay people. And in the 20th century, Caravaggio was even called a gay icon. No official evidence of this fact has yet been found.

In 1986, the film “Caravaggio” was released, in which they talked about Michelangelo’s unconventional sexual orientation. The artist's beloved was played by a British actor. This is his first role of this nature.

Death

In Italy, Michelangelo Caravaggio is known for his work, which caused a lot of controversy and scandals in society. Unfortunately, he caused indignation not only with his paintings, but also with his behavior. The offender regularly broke the law and was on the verge of imprisonment. Caravaggio did not have a permit to carry bladed weapons, but this did not stop the artist.

Michelangelo threw a tray at a waiter and broke glass in someone else's house. The guards got tired of this, so the artist was briefly imprisoned. And in 1606, a man killed a man. The tragedy happened during a ball game. To avoid being put behind bars, Caravaggio escaped. The author of world masterpieces spent the last 4 years of his life in exile.

Michelangelo hoped for a pardon, so he hid near Rome, but later left for Naples. Malta was on my travel list. On the island, the artist was knighted for his services to the Order of Malta. But again he showed an unrestrained character and entered into a fight. Moreover, Caravaggio’s opponent was a high-ranking adviser to the order. Soon the artist managed to escape from prison to Sicily.

The danger from the Italian authorities has passed, but a new one has appeared - representatives of the order. In 1609, Michelangelo managed to escape from them, but suffered greatly in the process. The pursuers disfigured the artist's face. Later, Caravaggio was again in prison, but by mistake. Death overtook the creator on July 18, 1610. Michelangelo died of malaria. The great artist was 39 years old.

Michelangelo Caravaggio was buried in a group grave. The man's remains were later found. The lead content in the bones turned out to be several times higher. Note that in those days this element was added to the paint. Perhaps it was not malaria that killed the artist, but his profession.

Works

• 1593 - “Young Man with a Basket of Fruits”
• 1595 - "Musicians"
• 1596 - "Boy Bitten by a Lizard"
• 1597 - "Penitent Magdalene"
• 1597 - "Medusa"
• 1598 - “Judith and Holofernes”
• 1599 - "Narcissus"
• 1600 - "Martyrdom of St. Matthew"
• 1601 - “The Crucifixion of St. Peter”
• 1602 - “Cupid the Winner”
• 1603 - “Burial of Christ”
• 1604 - “John the Baptist”
• 1605 - “Portrait of Pope Paul V”
• 1606 - “Mary Magdalene in ecstasy”
• 1607 - "Seven Acts of Mercy"
• 1608 - “Beheading of John the Baptist”
• 1609 - “The Raising of Lazarus”
• 1610 - “David with the head of Goliath”

CARAVAGGIO (Caravaggio; real name Michelangelo da Merisi, Michelangelo da Merisi), Italian painter. The largest representative of Baroque art. Until the early 1590s he studied with the Milanese artist S. Peterzano; in 1592 he left for Rome, possibly visiting Venice along the way. Formed under the influence of northern Italian masters (G. Savoldo, A. Moretto, G. Romanino, L. Lotto). For some time he worked as an assistant to the Roman mannerist artist G. Cesari (Cavalier d'Arpino), in whose workshop he completed his first works ("Boy with a Basket of Fruit", 1593-94; "Sick Bacchus", circa 1593, both in the Borghese Gallery , Rome). Thanks to the painting dealer Maestro Valentino, Caravaggio met Cardinal Francesco Maria del Monte, who became the master's patron and introduced him to the artistic environment of Rome. The best paintings of the early Roman period were painted for Cardinal del Monte: “Bacchus” (1595-97, Uffizi Gallery, Florence), “The Lute Player” (1595-97, Hermitage, St. Petersburg), “Fruit Basket” (1598-1601 , Pinacoteca Ambrosiana, Milan). In the works of the late 1590s, the mastery of the illusionistic transfer of materiality (which is especially noticeable in the still lifes that the artist includes in his paintings) is combined with its poeticization. Full of poetic charm and classical reminiscences, mythological allegory images (“Concert”, 1595-97, Metropolitan Museum of Art, New York; “Cupid the Victorious”, circa 1603, Art Gallery, Berlin) in addition to the literal, also carry a hidden meaning that is understandable to the educated Roman audiences of the time and often inaccessible to modern viewers.

At this time, Caravaggio opened up new possibilities for painting, turning for the first time to still life and the “adventurous” genre (“Fortune Teller,” circa 1596-97, Louvre, Paris), which was further developed among his followers and became very popular in European painting of the 17th century, as well as to the depiction of a mythological image as a common folk type (“Narcissus”, 1598-99, National Gallery of Ancient Art, Rome). In his early religious works, the poetic interpretation of the plot as a moral example (“St. Martha talks with Mary Magdalene,” circa 1598, Institute of Arts, Detroit; “St. Catherine of Alexandria,” circa 1598, Thyssen-Bornemisza collection, Madrid), as a deep spiritual experience (“St. Mary Magdalene”, circa 1596-97, Doria Pamphili Gallery, Rome; “Ecstasy of St. Francis”, 1597-98, Wadsworth Atheneum, Hartford, USA), as a revealed divine presence in the world (“Rest” on the way to Egypt", 1596-97, Doria Pamphili Gallery, Rome) is combined with dramatic scenes of violence and death ("Judith", circa 1598, National Gallery of Ancient Art, Rome; "Sacrifice of Abraham", 1601-02, gallery Uffizi. Florence).

Caravaggio's first major church commission was a cycle of paintings for the chapel of the French cardinal Matteo Contarelli in the church of San Luigi dei Francesi (1599-1600) in Rome. In the scenes of the calling and martyrdom of the Apostle Matthew, Caravaggio fundamentally updates the concept of religious painting, in which light begins to play a special role, transforming and dramatizing the gospel event. In “The Calling of the Apostle Matthew” (see illustrations for the article Jesus Christ), the light cutting through the darkness of the room has both a real physical nature and a metaphorical meaning (the light of Divine truth illuminating the path to salvation). The mesmerizing expressiveness of Caravaggio’s paintings is based on the ability to accurately convey the real motive, without reducing it to everyday life. The first version of the altar painting for the chapel “St. Matthew and the Angel" (1602, died in Berlin during the 2nd World War) was rejected by customers due to the overly common appearance of the apostle. In the final version (1602-03), Caravaggio achieved greater coherence and solemnity of the composition, maintaining a living spontaneity in the appearance and movement of the two figures.

In 1601, Caravaggio painted two paintings - “The Conversion of Saul” and “The Crucifixion of the Apostle Peter” for the T. Cerasi Chapel in the Church of Santa Maria del Popolo in Rome. In them, as in the cycle for the Contarelli chapel, a new religious attitude, characteristic of the time of the Counter-Reformation, found expression: the ordinary everyday life of human existence is transformed by the Divine presence; the sincere faith of the poor and suffering is manifested in piety, in the purity of popular charity. Each work of Caravaggio is a living fragment of reality, depicted with maximum authenticity and deeply experienced by the artist, who is trying to comprehend the events of Christian history, understand their motivating reasons and transform his thoughts into plastic forms that obey the laws of figurative dramaturgy. The realism of Caravaggio’s religious works, far from the ideals of beauty developed by the masters of the Renaissance, is close to the religious ethics of St. Charles Borromean and the popular piety of F. Neri, which is especially noticeable in such works of the Roman period as “Christ at Emmaus” (1601, National Gallery, London) , “The Assurance of Thomas” (1602-03, Sanssouci Palace, Potsdam), “Madonna with Pilgrims” (1604-05, Church of Sant’Agostino, Rome) and “Madonna with the Snake” (1605-08, Galleria Borghese), "Saint Jerome" (1605-06, Borghese Gallery). The best works of Caravaggio of this time are distinguished by their dramatic power: “Entombment” (1602-04, Vatican Pinacoteca) and “Assumption of Mary” (circa 1600-03, Louvre, Paris), in which he reaches the fullness of creative maturity. Powerful contrasts of light and shadow, the simple simplicity of the images, the expressive laconicism of gestures with the energetic sculpting of plastic volumes and the richness of sonorous color allow the artist to achieve unprecedented depth and sincerity in conveying religious feelings, encouraging the viewer to empathize with the events of the gospel drama.

Caravaggio's independent character often brought him into conflict with the law. In 1606, during a ball game, Caravaggio committed murder in a quarrel, after which he fled from Rome to Naples, from where in 1607 he moved to the island of Malta, where he was accepted into the Order of Malta. However, after a quarrel with a high-ranking member of the order, the artist was thrown into prison, from where he fled to the island of Sicily. Due to persecution by the Order of Malta, which expelled him from its ranks, he decided to return to Rome in 1610, hoping for help from influential patrons, but died of a fever on the way. During his wanderings, Caravaggio created a number of outstanding works of religious painting. In Naples in 1606-07 he painted for the church of San Domenico Maggiore large altar paintings “The Seven Works of Mercy” (Church of Pio Monte della Misericordia, Naples), “Madonna of the Rosary” (Kunsthistorisches Museum, Vienna) and “ The Flagellation of Christ" (Capodimonte Museum, Naples); in Malta in 1607-08 - “The Beheading of John the Baptist” and “St. Jerome” (both in the Church of John the Baptist, Valletta); in Sicily in 1609 - “Burial of St. Lucia" for the church of Santa Lucia (Regional Museum of Palazzo Bellomo, Syracuse), "The Raising of Lazarus" for the Genoese merchant Lazzari and "Adoration of the Shepherds" for the church of Santa Maria degli Angeli (both in the National Museum, Messina). The intense drama inherent in the artist’s art takes on the character of an epic tragedy in his later works. Monumental canvases, built on the relationship between a dull, dark background and large figures in the foreground, illuminated by flashes of pulsating light, have an extraordinary power of emotional impact, involving the viewer in the events depicted. The last years of Caravaggio’s life also include the painting “David with the Head of Goliath” (circa 1610, Galleria Borghese, Rome), where in the appearance of Goliath, whose head David holds on his outstretched hand, one can discern the facial features of the artist himself.

Caravaggio's work had a great influence on the contemporary art of not only Italy, but also Europe as a whole, affecting the majority of artists working at that time (see Caravaggism).

Lit.: Marangoni M. Il Caravaggio. Firenze, 1922; Znamerovskaya T. P. Michelangelo da Caravaggio. M., 1955; Vsevolozhskaya S. Michelangelo da Caravaggio. M., 1960; Röttgen N. Il Caravaggio: ricerche e interpretazioni. Rome, 1974; Michelangelo da Caravaggio. Documents, memories of contemporaries. M., 1975; Hibbard N. Caravaggio. L., 1983; Longhi R. Caravaggio // Longhi R. From Cimabue to Morandi. M., 1984; Caravaggio e il suo tempo. Cat. Napoli, 1985; Marini M. Caravaggio. Rome, 1987; Calvesi M. La realtà del Caravaggio. Torino, 1990; Cinotti M. Caravaggio: la vita e l’opera. Bergamo, 1991; Longhi R. Caravaggio. 3. Aufl. Dresden; Basel, 1993; Gash J. Caravaggio. N.Y., 1994; Bonsanti G. Caravaggio. M., 1995; Sviderskaya M. I. Caravaggio. The first modern artist. St. Petersburg, 2001; Lambert J. Caravaggio. M., 2004; Caravaggio: Originale und Kopien im Spiegel der Forschung / Hrsg. von J. Harten. Stuttg., 2006.

The Italian painter, one of the largest representatives of the Baroque Michelangelo Merisi da Caravaggio was born on September 28, 1573 in the Italian village of Caravaggio. His father was the majordomo and architect of the Marquis Caravaggio. Until the early 1590s, Michelangelo da Caravaggio studied with the Milanese artist Simone Peterzano, leaving for Rome around 1593. At first he was poor and worked for hire. After some time, the fashionable painter Cesari d'Arpino took Caravaggio as an assistant in his workshop, where he painted still lifes on the master's monumental paintings.

At this time, such paintings by Caravaggio as “Little Sick Bacchus” and “Boy with a Basket of Fruit” were painted.

By nature he was an artist who plunged him into difficult and dangerous situations. He fought many duels, for which he was repeatedly imprisoned. He often spent his days in the company of gamblers, swindlers, brawlers, and adventurers. His name often appeared in police chronicles.

© Merisi da Caravaggio / public domainPainting by Merisi da Caravaggio "The Lute Player", 1595. State Hermitage Museum, St. Petersburg

© Merisi da Caravaggio / public domain

In 1595, in the person of Cardinal Francesco Maria del Monte, Caravaggio found an influential patron who introduced him to the artistic environment of Rome. For Cardinal del Monte, the artist painted some of his best paintings - "Fruit Basket", "Bacchus" and "Lute Player". At the end of the 1590s, the artist created such works as “Concert”, “Cupid the Winner”, “Fortune Teller”, “Narcissus”. Caravaggio opened up new possibilities for painting, turning for the first time to “pure” still life and the “adventurous” genre, which was further developed among his followers and was popular in European painting of the 17th century.

Among Caravaggio's early religious works are the paintings "Saint Martha Conversing with Mary Magdalene", "Saint Catherine of Alexandria", "Saint Mary Magdalene", "The Ecstasy of Saint Francis", "Rest on the Flight into Egypt", "Judith", "The Sacrifice of Abraham" .

© Photo: public domain Caravaggio "Judith killing Holofernes." ca.1598-1599

At the turn of the 16th-17th centuries, Caravaggio created two cycles of paintings based on scenes from the life of the apostles. In the years 1597-1600, three paintings dedicated to the Apostle Matthew were painted for the Contarelli Chapel in the Church of San Luigi dei Francesi in Rome. Of these, only two have survived - “The Calling of the Apostle Matthew” and “The Martyrdom of the Apostle Matthew” (1599-1600). For the Cerasi Chapel in the Church of Santa Maria del Popolo in Rome, Caravaggio completed two compositions - “The Conversion of Saul” and “The Crucifixion of the Apostle Peter”.

© Photo: Michelangelo da CaravaggioPainting "John the Baptist", Michelangelo da Caravaggio

In 1602-1604, the artist painted "Entombment" ("Descent from the Cross") for the church of Santa Maria in Valicella in Rome. In 1603-1606 he created the composition "Madonna di Loreto" for the Church of Sant'Agostino. In 1606, the painting “The Assumption of Mary” was painted.

In 1606, after a quarrel during a ball game and the murder of his rival Rannuccio Tommasoni, Caravaggio fled from Rome to Naples, from where he moved to the island of Malta in 1607, where he was admitted to the Order of Malta. However, after a quarrel with a high-ranking member of the order, he was imprisoned, from where he fled to Sicily and then to southern Italy.

In 1609, Caravaggio returned to Naples, where he awaited pardon and permission to return to Rome.

During his wanderings, the artist created a number of outstanding works of religious painting. In Naples he painted large altarpieces "The Seven Works of Mercy" (Church of Pio Monte della Misaricordia), "Madonna of the Rosary" and "The Flagellation of Christ". In Malta, for the Church of San Domenico Maggiore, he created the paintings “The Beheading of John the Baptist” and “Saint Jerome”, in Sicily - “The Burial of Saint Lucia” for the Church of Saint Lucia, “The Raising of Lazarus” for the Genoese merchant Lazzari and “The Adoration of the Shepherds” for the church Santa Maria degli Angeli. Caravaggio's latest works also include the painting "David with the Head of Goliath", in which the head of Goliath supposedly represents a self-portrait of the artist.

In 1610, having received a pardon from Cardinal Gonzaga, the artist loaded his belongings onto a ship, intending to return to Rome, but never reached his destination. On the shore he was mistakenly arrested by the Spanish guards and detained for three days.

On July 18, 1610, Caravaggio died of an attack of malaria in the Italian town of Porto Ercole at the age of 37.

The work of Caravaggio had a significant influence not only on many Italian artists of the 17th century, but also on leading Western European masters - Peter Paul Rubens, Diego Velazquez, Jose de Ribera, and also gave birth to a new direction in art - Caravaggism.

The material was prepared based on information from open sources

Caravaggio had a lot of followers. And enemies. It's difficult to estimate who has more. Some copied and used his innovative methods.

Others sought to destroy him. And do everything so that his work is forever forgotten. They partially succeeded. Caravaggio was forgotten for three whole centuries.

But historical justice has triumphed. In the 20th century, the world realized his genius. As art critic Roberto Longhi said, “without Caravaggio there would have been no Ribera, or . And Delacroix would have written differently.”

His life is like an adventure novel. With a sad ending. In 1610, at the age of 39, Caravaggio disappeared without a trace. Did he die of malaria, as his contemporaries claimed? Or was he killed?

Now let's try to figure out how Caravaggio was able to attract so many followers. Make so many enemies. And what led to his death.

1. The famous tenebroso by Caravaggio.

Caravaggio is very recognizable by his tenebroso style. This is when there is complete darkness in the background. And figures and objects are illuminated by a single dim light source. This light seems to fashion a very three-dimensional image out of the darkness. Effective. Emotionally. Dramatically.

1602 National Gallery of Ireland, Dublin. Wga.hu

Some artists criticized Tenebroso. Calling Caravaggio’s painting “basement”. Others, on the contrary, borrowed it. Moreover, they literally made it a basement. And they opened their workshops in real basements with one light source.

Murillo. Little beggar. 1650 Artchive.ru

2. Caravaggio's extraordinary realism

From the very beginning, Caravaggio gravitated toward realism. He did not even want to idealize the gods. His famous “Bacchus” is depicted with dirt under his nails. And the fruits are spoiled by caterpillars. No idealization. And special divinity. More like a model pretending to be God.

Caravaggio. Bacchus. 1598 Uffizi Gallery, Florence. wga.hu

Caravaggio also depicts biblical stories as believably as possible. Look at his painting “The Unbelief of St. Thomas.” The master shows this plot very realistically. Without avoiding even the most unpleasant details. Saint Thomas penetrates Christ's wound with his finger. Not believing in his resurrection.

No symbolism. Everything is very literal.

Caravaggio. Unbelief of the Apostle Thomas. 1601-1602 Sanssouci Palace, Potsdam, Germany. Wikimedia.commons.com

3. Caravaggio's paintings were often rejected by customers

Caravaggio found models for his paintings among street beggars and prostitutes. And he transferred many of their features onto canvas. Dirty heels, receding hairlines, deep décolletés. It turned out that Caravaggio was going against the Edict of Pictures. This law prohibited giving the faces of saints the features of ordinary people.

Therefore, it is not surprising that church ministers often did not like his work. After all, the faces on the canvases could be recognized by parishioners. And there it’s not far from the exclamations of “Whore in the temple!”

Thus, his painting “Madonna with the Snake” hung in St. Peter’s Basilica for only two days. It is for this reason. His beloved Lena posed for Caravaggio. She lived in the Poor Court in Rome. It was a quarter of prostitutes and bandits. Perhaps she was an ordinary woman. But because of her place of residence, she was a priori classified as a lady of easy virtue.

Caravaggio. Madonna with a snake. 1605-1606 Galleria Borghese, Rome

They also abandoned the “Assumption of St. Mary.” This painting was commissioned for the church of Santa Maria della Scala. However, the customers were extremely outraged by the resulting work.

Other artists depicted Saint Mary as more likely to be asleep at the moment of her death. Or joyfully ascending to her son in heaven. As, for example, in the painting by Caracci, a contemporary of Caravaggio.

Annibale Caracci. Assumption of Saint Mary. 1600-1601 Church of Santa Maria del Popolo, Rome

At Caravaggio they saw the dead Mary. For real. Her body was swollen. The skin is extremely pale. Barefoot, she lies surrounded by the apostles. They are grieving their loss. No glorious ascension. Only grief and sadness.

Caravaggio. Assumption of Mary. 1602-1606 Louvre, Paris. Wga.hu

4. Caravaggio was an aggressive and hot-tempered man

Caravaggio was very hot-tempered and cocky. With a sword at his advantage, he could wander around the taverns for weeks. It was easy to hurt his ego. In this case, a plate of food was thrown at the innkeeper. Or the sword was drawn. So Caravaggio’s contemporaries understood that this genius had very little chance of living a long life.

His patrons and friends were also surprised how such an aggressive person managed to write true love and tenderness. As, for example, in the painting “Rest on the Flight to Egypt.”

Caravaggio. Rest on the way to Egypt. Fragment. 1598 Gallery of Doria Pamphili, Rome. Wga.hu

Although, of course, dark, tragic subjects predominate in his works. His masterpiece “The Beheading of John the Baptist” is considered especially sinister and bloodthirsty. Those who are particularly sensitive should not watch it (or read the description).

Caravaggio. The beheading of John the Baptist. 1608 St. John's Cathedral, Malta. Wikipedia.ru

Most of the picture is in darkness. And the central figure of the composition is the executioner. He had just cut the saint's throat. And he had already prepared a dagger to cut off his head. Only Salome is scarier than him. She so calmly places a copper dish for the head of the executed man! That the blood just runs cold.

The very moment of the murder is depicted. This could only be written by someone who himself looked into the eyes of the murdered man.

Yes, Caravaggio was a murderer. But not calculating. In the heat of another fight after a verbal altercation, he killed a man. Ranuccio Tomassoni. Which I later regretted very much. This is obvious from one of his latest works. Based on the painting “David with the Head of Goliath.”

Caravaggio. David with the head of Goliath. 1609-1610 Galleria Borghese, Rome. Artchive.ru

No one has ever portrayed David like this before. The young man looks contritely and with sadness in his eyes at the head of the defeated enemy. No triumph. No pride in yourself.

There is a version that this is a double self-portrait of Caravaggio. In the image of David there is the bright side of his soul. In the image of Goliath - dark. This picture is a judgment on oneself. For murder. For taking the life of another person.

5. The mystery of Caravaggio’s death is still not solved

For the murder, Caravaggio was sentenced to death. He fled from Rome. But this was already the beginning of the end. His life inevitably went downhill.

True, for some time there was a glimmer of hope for salvation. When Caravaggio came to Malta to join the crusading knights. He wrote several masterpieces here. Including for the Maltese Cathedral. He was knighted. Now there was a much better chance of obtaining a pardon from the Pope.

But again something went wrong. Another fight. Jail. Flight to Sicily.

Here is the official version of the artist’s death. While still in Malta, Caravaggio received a written pardon from Rome. In Sicily he boards a ship. To return to the Eternal City. But the ship's captain dropped him off halfway in one of the ports. Allegedly suspecting him of being a criminal. After which the artist was forced to walk to another city, Porto Ercole.

The path ran through marshy areas. There he contracted malaria. He was found unconscious by the landowner. He picked the artist. But he soon died. His body was thrown into the sea so as not to spread the infection.

Caravaggio. Ecstasy of Saint Magdalene. 1610. Private collection. One of the last works of the master. Perhaps it was painted in parallel with the painting “David with the Head of Goliath.”

This version is set out in a letter from this landowner to one of the Roman cardinals. Almost everything in this story seems far-fetched. No one, except the owner of those lands, admitted that they saw the artist alive or dead.

And most importantly, why did the captain put Caravaggio ashore? After all, the passenger paid half of the fare upon arrival.

And why did Caravaggio go to Porto Ercole when he needed to get to Rome? Moreover, Rome was much closer, but in the other direction. Caravaggio didn’t mix up the roads!

In 2010, in the town of Porto Ercole, where Caravaggio was supposedly heading, his remains were found. Many art historians doubt the authenticity of the find. The benefit for the town itself is too obvious. After all, the find was made exactly for the 400th anniversary of the artist’s death. Now Caravaggio has a grave and even a park around it. Not a bad attraction for tourists.

My version...

I think he was killed back in Sicily. Or he was overtaken by members of the Ranuccio clan. After all, blood feud was almost commonplace in those days. Or the Knights of Malta, angry at Caravaggio.

Whoever the killers were, they clearly disposed of the body. And they came up with the story of “return to Rome.” In order to direct those who want to investigate this matter down the wrong path.

It is possible that Caravaggio himself surrendered to his pursuers at some point. Because I'm tired of the chase. Because he was tormented by pangs of conscience (judging by the picture). Because his beloved Lena was no longer waiting for him in Rome (shortly before her death, he learned that she had died of consumption).

Well, we can only guess. After 400 years, it is unlikely that anyone will be able to find the truth.

Read about the master’s main works in the articles