Caravaggio

Narcissus, c1598-9, oil on canvas, Rome	Caravaggio Michelangelo da Merisi (1571-1610)
	HIS SECULAR PAINTINGS

By Gwen M McKinney presented 18 March 2003	Michelangelo da Merisi, commonly known as Caravaggio, was born to Fermo Merisi and his wife Lucia Aratori in September of 1571 in the town of Caravaggio. Fermo was the majordomo and architect of the Marchese di Caravaggio, Francesco Sforza. The town of Caravaggio was located in the northern region of Italy (Lombardy) near Milan and Venice. Caravaggio grew up during the early decades of the Counter-Reformation and this was to play an important role in his later paintings. Michelangelo's father, Fermo died in 1577 at the hand of the plague.¹ Shortly thereafter, Caravaggio became apprenticed to the painter Simone Peterzano (1540-1596) of Milan, a student of Titian.² Caravaggio apprenticed with Peterzano and during this time he learned the necessities to become a painter, including how to prepare colors, draw and paint, and learn anatomy and perspective. It is important to note that in the Lombardy region a naturalistic tendency in drawing and painting was prevalent. Helen Langdon suggests that a "study from nature" may have been a part of Caravaggio's training under Peterzano.³ After his time with Peterzano ended, around 1588, Caravaggio moved between Milan and Caravaggio. By 1592, he traveled away from his homeland, stopping in Venice, then Bologna and finally Rome. Caravaggio's early years in Rome were plagued by frustration and humiliation.⁴ He resigned to working for various artists throughout Rome, painting religious devotionals or reduced to painting baskets of fruits and flowers. For a short period of time, Caravaggio worked in Giuseppe Cesari d'Arpino (1568-1640) studio, who had him painting flowers and fruit - the sort of task a painter from north Italy was presumed to excel at, according to Christiansen.⁵

	Some of the earliest existing secular works by Caravaggio:
		Sick Bacchus, c1593, oil on canvas, Galleria Borghese, Rome One of Caravaggio's earliest pieces, it depicts a pale, sickly boy set apart from the viewer by the stone slab but emphasized by the artist's decision to paint a dark background. The peaches and grapes on the slab and in Bacchus' hand along with the grape leaves attest to Caravaggio's technical skill at painting fruit (see above). Some scholars believe that many of the early works are self portraits.
	Boy Bitten by a Lizard, c.1594, oil on canvas, Collezione Longhi, Florence Of this title there are two known works by Caravaggio, this one and one that belongs to the National Gallery of London. This version is yellow-er in overall color. Again, Caravaggio includes a still-life, alluding to his training and skill as a painter from the Lombard region. Detail from the National Gallery, London version, notice the reflection of a window in the vase.
		Boy with a Basket of Fruit, c.1593, oil on canvas, Galleria Borghese, Rome The subject of this painting is definitely the basket of fruit. Although Caravaggio has, as in his other paintings, painted the figure realistically from a model, his skill differs greatly between the figure and the fruit.
	Boy Peeling a Fruit, c.1592, oil on canvas, Phillips, London This painting might be associated with genre paintings, however, it differs from the typical genre painting in regards to a number of things. One, the youth appears to be refined and controlled. Another, the painting has not been "rusticated", showing poor or disheveled individuals. Also, if there is a moralizing theme it is very subtle. By having the youth peel a piece of fruit that is less tasty as the peaches and plums laid out on the table before him, Caravaggio might be suggesting the resisting of seductive temptations.⁶

	Caravaggio's luck as a painter took a turn for the better in a series of paintings that brought him to the attention of Cardinal Francesco del Monte, who was a great lover of music and art. Del Monte was also director of the Accademia di San Luca (shared with Cardinal Gabriele Paleotti).⁷
		The Fortune Teller, c1596, oil on canvas, Musei Capitolini, Rome Gypsies were popular subjects for plays and paintings during Caravaggio's lifetime, it is no surprise then that he would have painted a genre scene containing one. The sub context of the painting is to be wary of what gypsies say and also to not be foolish by amorous intentions. This can be seen in the gaze of the gentleman who is concentrating on the beautiful face of his fortune teller, oblivious to the actions taking place in his hands. Caravaggio has used the diagonal band of light in the background that he was to become well known for. Two versions of this painting exist.
	The Cardsharps, c1594-6, oil on canvas, Kimbell Art Museum, Fort Worth Another genre scene painted by Caravaggio, this painting depicts three figures, two of which are playing cards. Christiansen has suggested that the figure dressed in the yellow and black stripes may be a soldier of fortune.⁸ The victim is dressed in velvet finery, and suggests the figure is naive. These paintings contain recognizable subjects and familiar situations.

1 Helen Langdon, Caravaggio: A Life (New York: Farrar, Straus and Giroux, 1999), 19. 2 John Gash, "Caravaggio" The Grove Dictionary of Art Online (20 February 2003) <www.groveart.com> 3 Langdon, 25. 4 Keith Christiansen, A Caravaggio Rediscovered, The Lute Player (New York: The Metropolitan Museum of Art, 1990), 9; Gash; Langdon, 55-63. 5 Christiansen, 9. 6 John T. Spike, Caravaggio (New York: Abbeville Press, 2001), 28-9. 7 Langdon, 96. 8 Christiansen, 17.	Both The Cardsharps and The Fortune Teller were purchased by Cardinal del Monte. Del Monte took a great interest in Caravaggio and took him into his service, providing him with a place in his house and a stipend. The Cardinal introduced Caravaggio to his circle of friends, which turned out to be the successful launching of his career. Of del Monte's collection, two paintings are suspected to have been commissioned by him.
		The Musicians (or The Concert), c1596, oil on canvas, The Metropolitan Museum of Art, New York This painting has been suggested as an allegory of Music, with Caravaggio's deviation from the standard by painting young boys instead of girls. Nonetheless, it contains three figures loosely dressed in more "classical" dress, accompanied by Cupid, who gathers fruit. Each of the figures appears as though they were painted separately from the others. In addition, Caravaggio's depiction of space fails to work properly in this image, which in turn flattens the figures.
	The Lute Player, c1596-7, oil on canvas, private collection This is a later version of another work by the same title that resides in The Hermitage in St. Petersburg. This version has been identified as the probable commission by del Monte, one reason being the assortment of instruments on the table contains a spinettina. The spinettina was typically used in private company and not large gatherings, suggesting it was a personal item of the Cardinal.

	The Cardinal's influence helped Caravaggio gain respected clients, which allowed him to move away from secular works and concentrate on religious commissions. The majority of Caravaggio's work after 1597 is that of religious subjects, including the St. Matthew cycle in the Contarelli Chapel of San Luigi dei Francesi in Rome, and the painting of St Peter and St. Paul in the Cerasi Chapel of Santa Maria del Popolo in Rome. However, Caravaggio continued to paint secular subject matter, either in portraiture or of allegorical subjects.

		Amor Victorious, c1602-3, oil on canvas, Staatliche Museen, Berlin Caravaggio's painting contains a young teenaged boy in an unabashed pose. Trappings of music, instruments, and armor make up the items scattered in the foreground of the painting. The figure is very sensual and has been labeled as an allegory of Earthly Love, but may also represent how Love conquers all.
	Sleeping Cupid, c1608, oil on canvas, Galleria Palatina, Florence This depiction of cupid falls into place as one of Caravaggio's more mature developed paintings. The sleeping figure resembles a human child rather than a classical putto. In the dark background one can barely make out Cupid's wings, yet we would still have the idea that this was Cupid with his bow and arrows strewn about him. It is different however from Amor Victorious in the quietness and gentle manner in which he sleeps. Cupid in this painting is depicted as a younger boy than in Amor.

	Caravaggio did not conduct his life in a refined manner, as history has shown, he was often the subject of police inquiry and had to flee numerous locations for undisclosed reasons. Nevertheless, he was introduced to the necessary circles, which gained him access to beneficial supporters and commissions. His early secular works show an artist that was adept at still-life drawings but give way to his inability to paint spatial depth successfully. Caravaggio's problem with depth may be the reason why his paintings are so tenebrous. As Caravaggio matures and his hand develops, we can see an overall attention to naturalistic details, in both the painting of animate and inanimate objects. Below are a selection of other secular works that were painted over Caravaggio's lifetime.

Bibliography:

Denis Mahon, "Fresh light on Caravaggio's earliest period: his 'Cardships' rediscovered*," Burlington Magazine, cxxx (1988) pp11-25.

Emil Kren and Daniel Marx, "Caravaggio," Web Gallery of Art Online (20 February 2003) <gallery.euroweb.hu>

Helen Langdon, Caravaggio: A Life (New York: Farrar, Straus and Giroux, 1999)

Karen Wilkin, "Two views of Caravaggio," New Criterion, v18 i6 (Feb 2000) p42.

Karen Wolfe, "Caravaggio: another 'Lute player'," Burlington Magazine, cxxvii (1985) pp451-2.

Keith Christiansen, A Caravaggio Rediscovered: The Lute Player (New York: The Metropolitan Museum of Art, 1990)

John Gash, "Caravaggio," The Grove Dictionary of Art Online (20 February 2003) <www.groveart.com>

John T. Spike, Caravaggio (New York: Abbeville Press, 2001)

Michael Kitson, The Complete Paintings of Caravaggio (New York: Harry N. Abrams, Inc.,1967)