Caravaggio’s Artistic Evolution: Light, Emotion, and Innovation
Caravaggio’s Artistic Evolution
In Leonardo’s style (arm straight and stone in his hand), the psychological impact is evident. The concentration is in his martyrdom, where light illuminates the figure against a black background. There are two openings: the leg leading to the mantle, and the mantle going to the skull, and then to the head of St. Jerome. Currently, both paintings are attributed to Caravaggio.
Last Stage of Caravaggio
Caravaggio’s later years, from 1600 to 1606, represent a dual existence.
The Seven Works of Mercy
The institution, a charity, commissioned Caravaggio to depict the theme of Our Lady of Mercy, allowing him creative freedom. He sought an interpretation where the Virgin is subtly integrated. The painting is divided into three sections, distinguished by lines of light and individual expressions, each requiring separate attention. The works of mercy are derived from the Gospel of St. Matthew (25:15-16), which speaks of the Last Judgement, distinguishing those who will be saved by their acts of charity: feeding the hungry, sheltering strangers, clothing the naked, visiting the sick, etc. Caravaggio interprets these passages with diverse characters and scenes, interconnected yet distinct. Some elements close the scene, while others guide us to the angel.
Light as a Protagonist
Light is the central element, characteristic of his Neapolitan period. A golden light and dark interior envelops and deepens the space. It’s the first instance of using firelight internally. This fundamental light is integral to the picture, prioritizing space and combining with the light bulbs he used, creating violent outbreaks of volume.
This recalls Tintoretto’s miracle of San Mateo. The foreshortening of the saint corresponds to that of the angel, which is addressed in the background. Caravaggio’s angel is large, open, and dense, with a movement related to Tintoretto’s.
The figures of the Child and the Virgin are exceptionally tender, displaying great beauty and serenity. The children are human and idealized, protecting the poor with realism, contrasting with the Virgen del Rosario.
La Virgen del Rosario
Research suggests this work was retouched after arriving in the Netherlands. Today, it’s accepted as a work of Caravaggio, likely retouched to create distance and coldness in the scene. The issues of decorum are present again, conforming to requests but not entirely satisfying. The scene links his last years in Rome with a spacious composition featuring various characters.
To our right is the figure of the monks accompanying Guzman, witnessing the scene, which includes miraculous events. The monk looks directly at us.
There is a continuous internal movement. The Virgin Mary would be the center of the composition, but through gestures and light, the viewer’s eye is drawn back and forth across the table.
The donor, typical of Flemish art, enters the scene. He is associated with the Spanish crown (Naples belonged to Felipe III) and with the poor people reaching out to him. Like him, the poor are in the foreground.