Caravaggio - Out of the Shadows and Into the Painting

Young Sick Bacchus by Caravaggio

Portrait painting has been a staple of the medium since pigment and brush first met. It has long been a tradition of artists to capture there own likeness and place it on a canvas. This long and esteemed tradition was largely driven by commissioned work which has given way to other mediums. Today portrait artist has largely been replaced by photographers and camcorders. Commissioned portrait artists today will often be found sketching in the mall, or drawing pictures of suspects from a victim's description. Yet portraits and self portraits are still a favorite topic among artists. Self portraits are a particular favorite, in part because the model seldom complains. Some great artists of the past would often insert their image into their paintings. Michelangelo Merisi da Caravaggio, 1571-1610, was one such artist.

A classic Caravaggio can easily be recognized by the dramatic light. The range of light is filled with contrast, the composition bathed in bright and dark with very few middle tones. It is a dramatic lightening that easily captures the attention and directs the eye to the action. It is formally know as Tenebrism, the spectacular disparity of light and dark. Caravaggio's shadow's are nearly featureless, creating a negative space that makes the subject explode off the canvas. His paintings are also noted for their emotional realism.

His first two public commissions, Martyrdom of Saint Mathew and Calling of Saint Mathew, garnered him a loyal following and plenty of patrons. He became somewhat of a celebrity and had the persona to match. He became known for his brawling behavior, pompous public appearances and eventually had to flee Rome after killing a man in a brawl. Caravaggio was noted to carry a sword and dagger in public and in his later years even slept in his clothes and with a knife. He fled Sicily when he feared assassins were after him.

Caravaggio's best known self-portrait is one called Young Sick Bacchus. There are some that see his portrait in many of his works. In his painting, The Taking of Christ, Caravaggio can be seen in the background holding the lantern. In the painting The Musicians Caravaggio is seated behind the lute player, believed to be modeled after Mario Minniti, an Italian artist and companion of Caravaggio's. In Caravaggio's rendering of the battle between David and Goliath, some believe that he is the face of David. In the later versions of this painting he is believed to also be the face of Goliath.

In his painting, The Martyrdom of Saint Mathew, Caravaggio can be seen in the background watching Saint Mathew fall under the sword. He is also seen in the face of Medusa, one of his last Roman Style paintings.

There is debate and speculation as to how often he appears in his own paintings. For some it has become an academic game similar to looking for a film director's cameo, or finding Waldo. There is no question that he appears in many of his paintings. In many others he uses the same young models, often Mario Minniti. The next time you are looking through an art book, or are gazing at a painting by Caravaggio, look closely at the faces. Caravaggio may be staring back at you.

Source: EzineArticles