(E) The Passion of Caravaggio

7/27/2019 (E) The Passion of Caravaggio

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The Passion of Caravaggio

Paulo Martins Oliveira ____________________________________________________________________

Introductory note

Following and extending a concept subtly developed by previous masters, Caravaggio merged differeepisodes into single synthesizing images1. This dynamic use of compromise solutions is the key to understanding Caravaggios works, such asThe Flagellation of Christ (Naples), which actually represents different steps of the Passion of Jesus.

In this context, for example the ambiguous position of his legs (arriving/leaving the column) isindicative of the protean design employed by the Italian artist.

1 A brief example of this concept can be found in the article Reviewing Konrad Witz an ingenious artist of the 15thcentury.

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- Available for consultation


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Superficial scene

Jesus was sent to be flogged.Mt.27:26; Mk.15:15; Jn.19:1

Overlapped scene - A

The wroth high priest tore his own clothes, accusing Jesus of blasphemy.Mt.26:65; Mk.14:63

GiottoChrist before the high priest (Caiaphas)

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Comparative example

det.


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Overlapped scene - B

The soldiers mocked Jesus with a crown of thorns, and knelt before him sarcastically.Mt.27:29; Mk.15:17-19

Anthony van Dyck Crowning with thorns (det.)

Overlapped scene - C

Jesus carried the cross with difficulty, being helped by Simon of Cyrene.Mt.27:32; Mk.15:21; Lk.23:26

RaphaelChrist falling on the way to Calvary (det.)

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det.

Comparative example

Comparative example

det.


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Overlapped scene - D

The soldiers placed Jesus on the cross.Mk.15:24; Lk.23:33; Jn.19:18

Dirck van BaburenPrometheus being chained by Vulcan (Prometheus represents Christ, associable toHermes/Mercury, i.e. the Messenger)

Gerrit van HonthorstChildhood of Christ (The young Jesus glimpses his own redemptivedestiny, i.e. to be crucified)

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Comparative examples (also allegorical)

det.


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Overlapped scene - E

Jesus was crucified with two criminals.Mt.27:38; Mk.15:27; Lk.23:33; Jn.19:18

Leonardo da VinciThe Last Supper (det.)Christ (as James) crucified and flanked by thetwo thieves2.

Overlapped scene - F

Darkness came over all the land. Christ bowed his head and died.Mt.27:45; Mk.15:33; Lk.23:44; Jn.19:30

Matthias GrnewaldThe Crucifixion (det.)

2 See the article Leonardo's Last Supper and the three layers.

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Comparative example (also allegorical)

det.

det.

Comparative example


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Overlapped scene G

The centurion recognized the divinity of Jesus.Mk.15:39; Lk.23:47

James TissotThe confession of the centurion (concerning the same episode)

Overlapped scene H

Following a request from Joseph of Arimathea, Christ was taken down from the cross.Mk.15:45-46; Lk.52-53; Jn.19:38-39

Albrecht DrerThe descent from the cross

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Comparative example

det.

det.

Comparative example


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Another example from Caravaggio, also summarizing the Passion

Layer 1: Christ being crowned with thorns.Layer 2: The dead Jesus being lowered from the cross. On the left stands the respectful centurion.

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CaravaggioThe Crowning of Thorns

RubensThe descent from the cross

Lucas Cranach

Calvary (Jesus and the centurion)


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In a general perspective, Caravaggio designed characters with superimposed identities, and at the samtime assigned a given identity to different individuals, in order to create dynamic narratives.

This elaborate symbolic engineering is systematically detectable in other works, such asThe Calling of St. Matthew , fully decoded elsewhere3.

A) The tax collector Matthew (Levi) is still absorbed in his work.B) Matthew is awakened by the Good Word.C) The converted Matthew receives instructions to spread the Good Word, and to convert others

by himself.

In this layer, Caravaggio used three different characters to symbolize the progression of the sameindividual, and this work conceals several other ingenious sub-narratives4.Caravaggio extended and reinvented concepts of earlier masters, and left a deep influence on the nextgeneration of artists, including Velzquez.

20133 Specifically in the article O conceito dinmico de Caravaggio.4 For instance, the dialogue between characters B and C expresses a typical struggle of conscience, which

accompanies all human beings, including the most holy ones. For more on this issue see the article The DeceptiveAngels (concerning works of Titian and Caravaggio).

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A

B

C

Diego Velzquez Las Hilanderas


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Related writings

Original research (2009-13, independent projects: Escriptos; Akenpapers/Akenvis) Papers (until July 2013)

Bosch and the hidden devils of the Garden Bosch, the surdo canis Botticellis Primavera: the dual wind Deconstructing Caravaggio and Velzquez Depicting Michelangelo Leonardos Last Supper and the three layers Rembrandt and the art of compromise Reviewing Konrad Witz an ingenious artist of the 15th century The (diabolic) oak of the Rovere Popes The Adoration of the Magi (Botticelli) The Deceptive Angels

The Delights of Coudenberg The Devilish Chapel of Michelangelo The Dutch Company The dynamic concept of Sandro Botticelli The L(eonardo) and the S(alai) The Leaves of Caravaggio The nationalist and rational Jheronimus Bosch The Passion of Caravaggio The Sistine Ceiling and the Holy Spirit The Sistine Chapel and the new Jeremiah The Sistine Chapel of Michelangelo: the Law and the Judge

A Bno de Rafael (P) A ltima Ceia de Leonardo e as trs camadas (P) As faces de Engelbert (P) O conceito dinmico de Caravaggio (P) O engenho de Matthias Grnewald (P) O falso paraso de Tiziano (P) O mecanismo dos Painis de Avis (P) O nacionalista e racional Jheronimus Bosch (P) Os Demnios de Nuno Gonalves (P) Porqu Jheronimus Bosch? (P)

Books

Leonardo x Michelangelo The Devils of Art Jheronimus Bosch o relojoeiro dos smbolos Os Demnios de Arte Separata 1 Os Painis de Avis A Janela de Tomar

Forthcoming main publications on the symbolic engineering of artworks (15th-17th centuries): Jan van Eyck,Rogier van der Weyden, Botticelli, Leonardo, Michelangelo, Titian, Bruegel, Caravaggio, Velzquez, Vermeer(2013-15).

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(E) The Passion of Caravaggio

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