Caravaggio’s Sicilian Period: Burial of St. Lucy and Resurrection of Lazarus
Caravaggio’s Sicilian Period: A Study of Two Masterpieces
In his Sicilian period (1608-1609), Caravaggio’s style evolved, reflecting the unique environment and commissions he received. This analysis focuses on two significant works from this period: The Burial of St. Lucy and The Resurrection of Lazarus.
In these paintings, the soil is well-defined, and figures appear smaller compared to earlier Roman works. The scenes are more intimate, lacking overt symbols of sanctity. The figures are frozen in time, capturing a concentrated moment. The light, with its blue hues, recalls Mannerist metallic colors.
Orange primers and strokes of black and light are also evident.
The Burial of St. Lucy (1608)
Located in the Church of Santa Lucia in Syracuse, this painting measures 408 x 300 cm. While originally created for a religious setting, its functionality is diminished when viewed in a museum. The painting is in poor condition due to defective restorations.
The composition features a broader set, reminiscent of Caravaggio’s earlier works. The architecture is grand, dwarfing the figures. Unlike his Roman paintings, this work includes a multitude of characters. A figure facing the viewer draws the observer into the scene. These figures create a diagonal line with the foreshortened figure of the saint in the center. The perspective employs biases, with a vanishing point that extends beyond the square.
The expressions are frozen, similar to The Martyrdom of St. John the Baptist. Movement and vitality are diminished, replaced by intimacy. Each figure is isolated, withdrawn into themselves, seeking a feeling and overall composition. The technique, while rooted in the Roman era, features a less dense and complete pulp, lacking the characteristic size of the Roman period. Great importance is given to the golden light that unifies the scene, highlighting the different figures. The bottom of the fabric, typically a primer, is often visible.
The Resurrection of Lazarus (1609)
Commissioned by the Genoese DB di Lazarri for his chapel in the church of the Mustard family in Messina, this painting is also in poor condition.
Jesus and Lazarus are the central figures, surrounded by a mass of figures and heads behind a high wall. Two men lift the stone from the tomb. Jesus’s hand gesture mirrors his call to Matthew. The colors, red and blue, are consistent with his earlier works. The halos denote holiness. The focus shifts from divine figures to the human experience.
The painting depicts ordinary people witnessing a miracle: Lazarus emerging with crossed arms, symbolizing resurrection and redemption. This parallels the figure of Christ. A strong diagonal leads to Martha and Mary, Lazarus’s sisters, who had doubted his resurrection.