Caravaggio’s Early Works: Rome 1600-1606
Judith Beheading Holofernes (1598)
In this depiction of the Old Testament scene, Judith beheads Holofernes to protect her people from the slavery to which they would be subjected. Holofernes, a huge man beside the young woman who is killing him, holds his hair as he wakes, but she looks away in horror. She acts out of fear; a frown is etched on her face. The Lord has commanded, and she must obey.
The scene is in the foreground, with figures cut by the bed. Holofernes’ body extends to the bottom of the frame, his anatomy rendered with absolute perfection: a naked man with a beard and strong musculature. The figure of the maid waits with her mantles extended to receive the head and take it to the camp of the Jews. Ocher and white highlight the main figure, and red in the curtains emphasizes the importance of the character below. The rest of the room is black, precisely where the light creates tenebrism on the figures. Note the detail of the earrings that Judith is wearing, which had been used to seduce Holofernes. There is realism in the figures, while the setting is eerie and illusionistic.
Precedents: Tintoretto’s work of the same title. The composition features a close cut and foreshortening, similar to Artemisia Gentileschi’s Judith. Gentileschi was one of the best followers of Caravaggio.
Other Works from Caravaggio’s Roman Period (1600-1606)
Caravaggio’s world in this period often involved the lower depths of society. His use of low-life models suggests a certain identification with them.
Saint John the Baptist
The figure is naked, appearing with a lamb. This began to create controversy regarding the conception of the religious theme that had been entrusted to him. Imagine a pastor sunbathing naked; there is no idealization, just a mere boy, not with flesh and clear skin, but with tanned skin. Caravaggio plays with light and shadow, highlighting the naked figure of Saint John.
The composition has a large foreshortening, influenced by the nudes of Michelangelo’s Sistine Chapel. There is a large height difference in the legs, creating movement and dynamism. Only the red mantle with the ram creates a diagonal, along with the position and the very marking of Saint John’s body. Caravaggio played with volume, light, and shape to create a dynamic composition. Michelangelo, in another example (photocopies), also serves as an example and influence for Caravaggio.
Amor Victorious
Within the different interpretations, we tend to see a secular representation of Eros. However, there is a shell, and, being commissioned on behalf of a marquis, this makes some sense. We have the interpretation of a child, love, and truth represented neatly by a child. This is the triumph of love as a symbol of truth over the world of war. This painting has also caused controversy regarding the possible homosexuality of Caravaggio.
A child appears happy and without bias, joyful above all prejudices.
Parmigianino’s Cupid (or Eros or Amor)
Here, the sexual aspect and suggestion are more attractive than full nudity. The androgynous figure, a boy with bird wings, is rendered under typical Mannerist proportions. The two figures are unrealistic, existing in an imaginary environment. (Photocopies of the teacher)
David and Goliath
This painting links with Judith and Holofernes. It is the justification of a crime for the salvation of the people of Israel, to liberate the promised people. David cuts off Goliath’s head after killing him. The body, again in foreshortening, is directed against an empty, black background, where one must imagine the depth. Goliath’s head is turned, still showing some signs of life.