Caravaggio’s Maltese Period: Masterpieces and Techniques
Alof de Wignacourt
Portrait of Alof de Wignacourt, a half-length portrait, is reminiscent of Venetian style. He is depicted with the cross, indicative of his status, and a sword, symbolizing the defense of Christianity. The composition focuses on the head, cross, and hands, reminiscent of Flemish portraiture.
When Charles V appointed Titian as court painter, Titian had to follow the rules of Antonio Moro. Moro’s influence would later be seen in the work of Velázquez. A comparison can be drawn between the portrait of Philip II by Titian and that of Alof de Wignacourt by Caravaggio. In Caravaggio’s work, we primarily see a black space with only a hint of light suggesting the ground. Caravaggio masterfully plays with light, characteristic of his early style. Moro’s style, in contrast, is distinctly Flemish.
The Grand Master
Similar to his depiction of St. Jerome, the composition is highly naturalistic (refer to photocopies).
Beheading of St. John the Baptist
This large painting, measuring 5.2 x 3.6 feet, is the only one known to be signed by Caravaggio. It is believed that the commission came from the Grand Master himself, possibly coinciding with Caravaggio’s admission into the Order.
The treatise by Bellori notes changes in Caravaggio’s technique, particularly in the brushstroke, which leaves a half-impregnated fabric. The scene features smaller figures within a well-defined environment, bathed in golden light and shadow, allowing the viewer to perceive the entire space. The ground is clearly defined, and the figures lose their Roman monumentality. John is depicted as a simple human figure, without a halo, palm, or angel. The figures are frozen in time, concentrated on the moment, lacking the dynamism seen in his other works. The executioner, for instance, stands still. It is left to the viewer’s imagination to follow the scene’s progression.
Caravaggio introduces a different coloration, including metallic hues. His brushstroke technique is no longer dense but loose and light.
Sicily: Syracuse and Messina (1608-1609)
Despite being a fugitive, Caravaggio consistently found powerful protectors. Upon arriving in Syracuse, he received significant commissions, continuing to work for the elite.
Burial of Santa Lucia
This religious painting, originally intended for a church, often loses its intended impact when removed from its context. It is one of Caravaggio’s most poorly preserved works, despite several inadequate restorations.
The painting showcases an increasingly expansive set design, similar to that seen in The Seven Works of Mercy. The architectural background diminishes the figures, and there are numerous figures, often used to create a sense of wider space. The diagonal placement of two figures (one in the back and one in the front) and the foreshortening of another figure create depth. However, the figures appear frozen, lacking the movement, sensuality, and meaning found in his earlier works. Intimacy now prevails, with characters isolated in their own worlds within a shared space.
It is a large group scene where sentiment is palpable. Caravaggio’s technique has evolved: the thick impasto is replaced by a less dense application, giving the figures less volume. He emphasizes the unifying golden light that envelops the scene, with subtle highlights in certain areas. The touch and intention behind the light are different, aiming to create a sense of wholeness. The color palette remains consistent, with earthy tones punctuated by touches of golden, enveloping light.