Power of Art: 1 Caravaggio

Key Concepts

Caravaggio, Baroque Art, Catholic Counter-Reformation, Naturalism, Tenebrism (dramatic lighting), Self-portraiture, Sin and Redemption, Patronage, Violence, Artistic Revolution, Religious Art, Psychological Realism.

Caravaggio's Life and Troubles

The video begins by highlighting Caravaggio's life as a fugitive in 1610, wanted for murder. He attempts to "paint his way out of trouble," specifically referencing his painting David with the Head of Goliath as a self-portrayal where he casts himself as Goliath, the villain. This act is interpreted as a guilty plea in paint, hoping for salvation.

The Catholic Church's Propaganda Campaign

The video then shifts to Rome in 1600, the center of the Catholic Church's propaganda campaign against the Protestant Reformation. The Protestants emphasized the Bible and rejected religious imagery as idolatry. The Catholic Church, however, used paintings as "heavy artillery" in their "war for souls," arguing that they were essential for the illiterate to understand religious narratives. Churches were lavishly decorated to defend the Catholic faith.

Rome's Underbelly and Caravaggio's Early Life

The video contrasts the opulent world of the Cardinals with the gritty reality of Rome's streets, filled with poverty, crime, and a diverse population. Caravaggio lived in this underbelly, sharing cheap rooms with other struggling painters. He was born in Lombardy and lost his father and grandfather to the plague at age five, and his mother died when he was 19. He apprenticed in Milan before moving to Rome in 1593.

Caravaggio's Rejection of Artistic Conventions

Caravaggio rejected the traditional artistic training of copying old sculptures and masters like Raphael to achieve "perfect form and ideal beauty." He believed in painting what he saw in the "here and now," using people from the streets as models. He famously never drew, preferring to "eyeball" and paint directly.

Early Works and the Bacchus Painting

The video discusses Caravaggio's early works, noting that his Boy with a Basket of Fruit was a departure from the refined beauty of the Renaissance. His Bacchus painting is analyzed in detail. Instead of depicting the god as eternally youthful and beautiful, Caravaggio portrays him as sickly, with greenish flesh, gray lips, and unslept eyes. The grapes are overripe, and the offering is made with dirty fingernails. This is interpreted as Caravaggio taking a god and making him "all too human," challenging the idealization of classical figures.

Cardinal Del Monte's Patronage

Cardinal Francesco Maria Del Monte, a major art patron, discovered Caravaggio. Del Monte bought Caravaggio's paintings and offered him a place to live in his Palazzo, providing him with access to intellectual circles and a comfortable life.

The Musicians and Breaking the Safety Barrier

The video analyzes The Musicians, noting its claustrophobic setting and the way Caravaggio breaks the "safety barrier" between the viewer and the painting. The painting feels intimate and intrusive, drawing the viewer into the scene.

The Commission for the Contarelli Chapel

In 1599, Caravaggio received a commission to paint two scenes from the life of St. Matthew for the Contarelli Chapel in the Church of St. Luigi dei Francesi. This was a crucial test of his ability to create religious art for a public audience.

The Calling of St. Matthew

Caravaggio struggled with The Martyrdom of St. Matthew initially. However, he found inspiration in The Calling of St. Matthew, focusing on the story of a sinner's transformation. He set the scene in a dim Roman room, using characters from the streets. Christ is partially obscured, and the focus is on his extended finger and the light emanating from it, which transforms Matthew from a sinner into a disciple. This use of light and shadow is a key element of Caravaggio's style.

The Martyrdom of St. Matthew

After completing The Calling, Caravaggio successfully painted The Martyrdom of St. Matthew. He depicted a brutal assault in a back street, with chaotic figures and a fleeing Caravaggio himself. The naked assassin is the central figure, highlighting the sinner rather than the saint.

Caravaggio's Erratic Behavior and Violence

Following his success, Caravaggio's behavior became increasingly erratic and violent. He abused rivals, insulted people, and engaged in street fights. He even denied knowing his own brother.

Doubting Thomas and the Physicality of Faith

The video discusses Doubting Thomas as an example of Caravaggio's ability to convey the physicality of faith. Christ grabs Thomas's wrist and guides his finger into his wound, emphasizing the tangible reality of the event. Caravaggio's art makes the viewer "feel" the message of Christianity.

The Conversion of Saint Paul and The Crucifixion of Saint Peter

The video highlights The Conversion of Saint Paul and The Crucifixion of Saint Peter as examples of Caravaggio's ability to capture the "sheer weight of the gospels." His figures are trapped in flesh, reflecting the human experience of faith.

Madonna of Loreto and Indecency Accusations

Caravaggio's Madonna of Loreto, depicting a local girl as the Madonna with two pilgrims kneeling before her, was considered indecent by some due to the emphasis on the pilgrims' dirty feet. This marked a turning point in his career, as his work began to face increasing criticism.

Arrest and Imprisonment

Caravaggio was arrested and imprisoned after a lawsuit for liable. He was later released to house arrest.

The Artichoke Incident

The video recounts the famous "artichoke incident," where Caravaggio threw artichokes at a waiter after arguing about whether they were cooked in oil or butter. This anecdote illustrates his volatile temper.

Death of the Virgin and Rejection

Caravaggio's Death of the Virgin, commissioned for the Church of Santa Maria della Scala, was rejected by the Carmelite sisters. His depiction of Mary as a dead woman with green skin and a bloated body was considered too realistic and shocking. Rumors spread that he used a drowned prostitute as a model.

The Fight with Pasqualone and Murder

Caravaggio became embroiled in a dispute over a woman named Elena, who was also desired by Mariano Pasqualone. This led to a fight in which Pasqualone was attacked.

The Duel with Ranuccio Tomassoni and Flight

Caravaggio had a fatal duel with Ranuccio Tomassoni, a local swordsman. He was wanted for murder and fled Rome.

Naples and Malta

Caravaggio found refuge in Naples, where he continued to paint. He then traveled to Malta, seeking a knighthood in the Order of St. John, hoping to erase his past.

The Beheading of Saint John the Baptist

In exchange for the knighthood, Caravaggio painted The Beheading of Saint John the Baptist for the knight's Cathedral. The video describes this painting as a brutal and remorseless depiction of violence, challenging the traditional view of art as a source of beauty and consolation. Caravaggio signed the painting in the blood of John the Baptist, suggesting his desire for redemption.

Imprisonment and Escape in Malta

Shortly after becoming a knight, Caravaggio was imprisoned for assaulting another knight. He escaped and fled to Sicily.

Return to Naples and the Promise of a Pardon

Caravaggio returned to Naples, where he was attacked and left for dead. He received news that the Pope's nephew, Scipione Borghese, was arranging a pardon.

David with the Head of Goliath (Self-Portrait)

To secure his pardon, Caravaggio painted another David with the Head of Goliath, this time with his own face as Goliath. David is depicted as less jubilant, and the inscription on his sword, "humilitas occidit superbiam" (humility kills pride), reflects Caravaggio's internal struggle. The painting is interpreted as a desolate vision of self-knowledge and recognition of the evil within himself.

Death

In July 1610, Caravaggio set sail from Naples, hoping to return to Rome. He was mistakenly imprisoned in Palo and, after being released, his boat sailed off along with his paintings. He died in Porto Ercole, likely from fever, before the pardon could reach him.

Conclusion

The video concludes by noting that Scipione Borghese finally received Caravaggio's paintings, including the self-portrait as Goliath. The Cardinal was confronted with the artist's dark vision of himself, a stark contrast to the traditional role of art as a source of beauty and virtue. The video emphasizes Caravaggio's honesty and his ability to capture the complexities of human nature, making his art powerful and enduring.