Caravaggio Case

Michelangelo Merisi da Caravaggio was an Italian artist whose paintings combined his dramatic realistic observation with a vibrant use of lighting and tenebrism. His artistry triggered a revolutionary change in the Protestant church and he found his voice in Roman Catholicism, where he was commemorated as a highly renowned painter of religious craft. Caravaggio became famous for his works that conveyed intense realism and naturalism, but was also noteworthy of illustrating religious works that idolized violent struggles, torture, decapitation, and death. His work exploited the standards found in existing Catholic art. The drama experienced in Caravaggio's life matched his controversial and highly influential pieces of work. With very little preparation, Caravaggio would paint vivid emotion directly onto the canvas. Examples of his spontaneous illustrations can be found in pieces such as David with the Head of Goliath, The Conversion of St. Paul, The Death of the Virgin, and The Flagellation of Christ.

Caravaggio's style allowed the viewer to feel as if they were a part of the scene. He did this by creating his figures to appear as an extension of real space, which would extend the action in the composition beyond what the viewer was already experiencing. Another atypical style that was an expertise for Caravaggio was the use of chiaroscuro. Chiaroscuro is the recognizable contrast between a somber background and intense darkness. These elements were used to create value and realism in Caravaggio's pieces. The methods he used were almost as revolutionary as the works themselves.

Caravaggio's painting David with the Head of Goliath is one of his most famous oil on canvas paintings and was dated back to as early as 1610. The painting suggests that David has beheaded Goliath, and is holding his head while blood is dripping from his hands. It appears as though David is experiencing compassion and empathy towards Goliath based on the emotion seen in his face, but ultimately illustrates a story of triumph where good has overcome evil. David and Goliath in this case can also be inferred as Christ and Satan confirming Caravaggio's interest in Roman Catholicism and the Protestant church. However, Caravaggio uses historically dramatic scenes and creates them to have a separate layer of meaning. Some say that this painting should be interpreted as if Caravaggio is painting a double self-portrait, which reflects David as a younger Caravaggio and Goliath as an older Caravaggio. The intention is that David reflects himself as a young and reckless man who has ruined an older, more mature version of himself.

The most recent interpretation of David with the Head of Goliath is said to be a cry of mercy where Caravaggio is asking for forgiveness from the pope. Caravaggio had committed multiple crimes in the city of Rome and in turn painted himself in this picture so that he was displayed as a