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Caravaggio:

Exploring the Mind behind the Canvas

Roy Hadad

ARH-LFA

Prof. E. Cerrolaza

November 17th, 2010

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In this research paper I will be touching base on one of the most influential artists during the Baroque

Period: Michelangelo Merisi da Caravaggio. I will scrupulously go through the works that made him

famous and those that had significant meaning when discussed under the context of his life. To be

precise we will primarily focus on Caravaggio’s renditions of Boy with a Basket of Fruit, The Calling of

Saint Matthew, Medusa and David with the Head of Goliath. These works will be the starting points

which we will use to delve deeper into Caravaggio’s mind, style and uniqueness. Inevitably, when

exploring such an artist we ask ourselves the question: Why were these works of art painted the way

they were? And of course, what ran through the painter’s mind when creating such intricate pieces of

art? In my opinion, to find an answer, we must dissect Caravaggio’s mind. We must learn about his

history, we also need to figure out what kind of mentality he had. In brief, Caravaggio had an action

packed life, he was always on the run and trouble always managed to sniff him out. One of the main

goals of this research paper is to figure out what kind of person he was, and how all these misfortunes

found their way into his paintings. After all, most painters use art as medium to let out their feelings and

there is always a distinct marking that is left. That is what makes each painter unique. As we all know,

Caravaggio was one of the most influential artists from that time period. My paper will try to give

testament to the Italian artist’s genius. It all really boils down to the fact that Caravaggio was different,

he painted differently, he had a distinct perspective on life and as van Mander once said that Caravaggio

“distinguished the most beautiful of life’s beauties and selected it.” (Adams 675) Caravaggio was unique,

he did not follow the norms that were set at that time; he just went his own way. This alone, is a huge

inspiration for future generations. Caravaggio wasn’t just a painter, he innovated the way art affected

the minds and senses of the population. He masterfully blended religion and daily themes in his art. He

was naturalistic in every sense of the word.

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Let’s start off with an overview of his life. “Caravaggio was the son of Fermo Merisi, steward

and architect of the Marquis of Caravaggio. Orphaned at age 11, Caravaggio was apprenticed in

the same year to the painter Simone Peterzano of Milan. At some time between 1588 and

1592, Caravaggio went to Rome. He was already in possession of the fundamental technical

skills of painting and had acquired, with characteristic eagerness, a thorough understanding of

the approach of the Lombard and Venetian painters, who, opposed to idealized Florentine

painting, had developed a style that was nearer to representing nature and events. Caravaggio

arrived in Rome and settled into the cosmopolitan society of the Campo Marzio. This decaying

neighbourhood of inns, eating houses, temporary shelter, and little picture shops in which

Caravaggio came to live suited his circumstances and his temperament. He was virtually

without means, and his inclinations were always toward anarchy and against tradition.” (Mood

book 1) We see that Caravaggio’s way of approaching painting was quite different. An example

of this way of perceiving nature and technique is present in his: Boy with a Basket of Fruit. It’s

amazing the attention to detail that can be seen in this early painting. It was painted in 1594;

only two years after Caravaggio arrived in Rome. We notice an incredibly important element

here. Caravaggio wasn’t influenced by the standards that were set for paintings; he did things

differently. The way that Caravaggio painted the fruits hints to us the fact that he studied

nature extremely close. The grapes reflect light naturally and the leaves have intricate veins.

All of this is perfectly embellished by the chiaroscuro, or in other words, the way Caravaggio

drew strong contrasts in lighting. The extravagant way he painted can lead us to the

assumption that it was used as a means to boast his skills. Caravaggio was showing off, he was

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different and he knew it. Yes, Caravaggio physically portrayed an excellent painting, it was

realistic, but let’s drift towards how he managed to portray human emotions so meticulously.

As the years pass by he found himself under the patron: Cardinal Francesco del Monte. One of

the paintings commissioned by the Cardinal included a wedding gift for the grand duke of

Tuscany. The theme of it was none other than Medusa and it was painted in 1597. Ironically,

this painting seems to repulse us, yet inevitably, it lures us with its stunning parade of

emotions. Medusa here is seen on a dark background, in shock that she has been decapitated.

This is where we see Caravaggio’s true genius in play, in his earlier work with the Boy with a

Basket of Fruits, he is very meticulous and realistic in his approach to painting the physical.

Now we see the perfect portrayal of emotion, the painting seems to scream at us. We can feel

Medusa screaming in terror and shock. This really helps sum up Caravaggio’s style, he drew

realistically and he portrayed emotions perfectly.

The very fact that del Monte commissioned paintings from Caravaggio, which ironically

included very secular themes – effeminate young men, musicians – helped the young Italian

painter gain his very first public commission which ultimately catapulted him to fame. These

two works were none other than: The Calling of Saint-Matthew and Martyrdom of Saint-

Matthew. We will be discussing about the very first work, for it contains a lot about

Caravaggio’s method of choosing his models and his style. “When someone asked him, what he

was going to do for models, he pointed at the street. Them, he said. And he brought them to

his studio” (Schama, 8:55). We learn that Caravaggio started to rebel against the ideal, he

renounced the classical norms that have been followed throughout the centuries by painters.

He was going to help the individual that viewed his paintings understand that the power of

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miracles and the like weren’t in a world dedicated to only the saints, it was there, right in front

of them, where they lived and breathed. In the Calling of Saint Matthew we see the character

of Matthew depicted as a common “sinner” dressed in simple clothing. It is quite extraordinary

that Caravaggio does not paint a religious theme with idealized figures. He chose to paint the

naked truth, without adding any embellishments, truly getting the picture of how life really

was. At this moment in time Caravaggio really shapes his style. It is during this time of his life

that he is at his prime. But like every genius throughout history, he had his flaws. Caravaggio

painted subjects that seem to come from slums because he himself was surrounded by them.

Caravaggio was self destructive. He was considered famous during the 17th century, although

he was known by many as an “evil genius” (Chilvers 1). As his life went on “he built up a

lengthy criminal record for various cases of assault and insulting behaviour, then in 1606 he

killed a man in a fight over a wager on a tennis match. He then fled Rome.”(Chilvers 1) His

technical skill was amazing, he treaded in unexplored territory, and he was infamous for doing

so. After fleeing Rome he starts painting a series of works. One in particular holds great

symbolism and a way to understand the Italian artist’s mind set: David with the Head of

Goliath. It is quite a sight, the beheaded Goliath screaming out, with a sense of surprise and

terror in his eyes; a bit reminiscent of his earlier work of Medusa. This time it’s different, this is

actually a portrait of Caravaggio. (Schama 22:55). Caravaggio portrays himself as Goliath, as the

bad guy. He seems to have reached a period in his life where he wishes to give in, to finally

redeem himself. A burst of humility is present in his style and theme. Ironically, he paints this

piece between 1609 and 1610; the year of his death. He dies of fever on his way to Rome, after

being excused for his crimes. (Chilvers 1).

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Caravaggio predominated the 17th century with his style. Even though not many accepted his

unorthodox ways, he had a gift to pull in the viewer to the piece and make them feel the very

emotions being portrayed. He lived a short life, but he had an immense impact on future

generations. Neil Young really helps us understand the brilliance behind Caravaggio with one of

his quotes: “I’d rather burn out than fade away.” Caravaggio did just that, we see an artist that

really divulged his life into his paintings.

Word count: 1480

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Boy with a Basket of Fruits (1594)

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Medusa (1597)

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The Calling of Saint-Matthew (1600)

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David with the Head of Goliath (1610)

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Bibliography1) "Caravaggio, Michelangelo Merisi da" The Oxford Dictionary of Art and Artists. Ed Ian Chilvers. Oxford University Press 2009 Oxford Reference Online. Oxford University Press. Marianopolis College Library. 28 October 2010 http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t3.e455

2) Adams, Laurie S. Art Across Time 2nd. Ed. Boston: Mcgraw-Hill, 2002. Print.

3) "Caravaggio. Art and Life. Biography." MoodBook. Bring Art to Your Desktop! Web. 28 Oct. 2010. <http://www.moodbook.com/history/baroque/caravaggio-art-and-life.html>.

4) Schama, Simon. "Caravaggio - David with the Head of Goliath." Power of Art. BBC. BBC2, London, Oct. 2006. Television.