In this volume the Italian leading art historian Vittorio Sgarbi outlines his personal rereading of the trajectories and innovations of Caravaggio"s artistic language through a critical re-examination of all the master"s known works and undisputed masterpieces.
In addition to the introductory essay - in which the author revisits critical questions regarding the young Lombard Michelangelo Merisi da Caravaggio"s formation, apprenticeship with the Milanese painter Simone Peterzano, departure for Rome, the beginning of the great fortune he found among Roman cardinals and nobles, and his tragic death at Porto Ercole - the volume is enriched by a sumptuous series of catalogue entries examining each single work, in which the historical and critical analyses mine all the latest specialized texts and documentary discoveries for new information. The narration is measured, absorbing, and clear, permitting the reader to easily enter Caravaggio"s complex history, get to know his patrons, understand the recondite meanings of his numerous pictorial innovations, and grasp the absolute modernity of his compositional choices in dramatic lighting and the analytical insistence on working from the real world. This volume spans from the oft-repeated figure of Bacchus, concerts, group scenes, and biblical stories, through the cycle of Saint Matthew for the chapel of San Luigi del Francesi and masterpieces of his artistic maturity such as the "Death of the Virgin" in the Louvre, the "Seven Acts of Mercy" in Naples, and the "Crucifixion of Saint Peter" in the church of Santa Maria del Popolo in Rome, all the way to his extreme works of disconcerting modernity, such as the "Beheading of Saint John the Baptist" in Malta, the "Burial of Saint Lucy" in Syracuse, and the "Raising of Lazarus" in Messina. The author has based the entire volume on Caravaggio"s definite, documented, and signed works, with the aim ol strengthening and clarifying the various passages of Caravaggio"s poetics, creating an analysis that ranges from the earliest works of his youth - still sensitive to the varnished paintings of the mannerist tradition - to his focus on natural details and the expressive investigation of his subjects; the analysis includes his later, more mature baroque sensibility, as well as the material and reductive experimentation with the pictorial form typical of his later works.
This volume, conceived of by Vittorio Sgarbi, is meant to be a useful and meaningful tool with which the public can approach the works of one of the greatest artists of the Italian baroque period; at the same time it is a reference text and an intelligent synthesis of Caravaggesque issues and criticism for both students and scholars of Italian art history.
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