Caravaggio’s Art: Light, Shadow, and Emotion
One aspect that was not well-received was the depiction of the Virgin’s bare, dirty feet, as well as the absence of halo lighting (which typically identifies her as the Virgin). It was argued that this was inappropriate for such a subject.
In the painting, the Virgin establishes a diagonal foreshortening, contrasted by another diagonal that creates the light, always a central element. We see Magdalena’s back, revealing her grief behind the Virgin’s red robe, foreshadowing the martyrdom of her son and her own suffering. The additional figures, forming a group of mourners, are illuminated on their heads, emphasizing their expressions. Those further back are less prominent, creating a comprehensive picture reminiscent of the backgrounds in Caravaggio’s earlier works. Caravaggio emphasizes curtains, an element previously used by Titian and later by Velazquez in their paintings. The curtains add theatricality to the interplay of light and shadows generated by their folds, a significant motif in the Baroque style.
The intimate suffering of Magdalena is echoed in the painting of Christ’s burial, even with similar dresses.
St. Jerome (Both Versions)
One version was attributed to Españoleto, a follower of Caravaggio, and Jose de Ribera, one of the greatest Caravaggisti, closely resembling Caravaggio’s style.
We have two versions: one in the Borghese Gallery and another in the Monastery of Montserrat.
The first, long attributed to Ribera, depicts St. Jerome as a writer, wearing a red cape (symbolizing the cathedral) and with a skull, signifying his penitence, as he works on the Vulgate. The composition is close, drawing us in, with the head and back merging into the mantle. It exudes serenity and returns us to the darkness, with the character defined by the light’s volume. The angles of the books intrude into our space.
In the second version, we see Jerome as a penitent, his folds revealing an old man’s abdomen, realistically rendered. Jerome beats his chest with a stone, a representation similar to Leonardo’s (arm straight and stone in his hand), signifying psychological torture and concentration on his martyrdom. Light merges the figure with the black background. Two openings: the leg leads to the mantle, the mantle to the skull, and the skull to St. Jerome’s head. Currently, both paintings are attributed to Caravaggio.
Last Stage of Caravaggio’s Life
The final years, from 1600 to 1606, were marked by a duality in Caravaggio’s life: facing scarcity amidst the luxury of the cultural elite. Eventually, he fled Rome after killing a man, though in self-defense, he was charged with murder. This forced his departure from Rome. As always, he had moved within the high caste, and the city sought a new protector. He went to Lazio and later to Naples (then a Spanish state, separate from Italy), a bustling city.
For a time, he moved through several cities, continuing to receive commissions for large orders. He may have even arrived in Naples with recommendations.
The Seven Works of Mercy
The institution of mercy, a charity, commissioned Caravaggio to depict Our Lady of Mercy, interpreting it as freely as he wished. He sought an interpretation where the Virgin goes unnoticed. The painting is divided into three parts, separated by lines of light and distinct expressions. This work is still being studied.