Caravaggio: His life and style in three paintings | National Gallery

Letizia Treves introduces Caravaggio, an artist known for both his innovative art and troubled life. Born in Milan in 1571 as Michelangelo Merisi, he later adopted the name Caravaggio from his parents' hometown. After his father's death when he was six, Caravaggio began a four-year apprenticeship with Simone Peterzano at age 13, where he learned fundamental painting techniques. From 1592, around age 20, he moved to Rome, a period with scarce documentary evidence. He worked in various workshops, painting heads for one master and flowers and fruit for another, experiences that would shape his early independent works.

Caravaggio struggled financially, painting for the open market. His early works, such as 'Boy Bitten by a Lizard' (of which the National Gallery possesses one version), combine beautiful still life with half-length figures. These genre subjects, new to Rome, captured patrons' attention. The painting can be interpreted in various ways, from an allegory of touch or love's pains to a study of expression and surprise. The still life quality in these early works, as seen in the fruit, is remarkable, making it good enough to eat. Caravaggio's innovation lay in his realistic portrayal of nature and use of live models, even for portraits. His early paintings, including street scenes like card players and fortune tellers, elevated genre subjects to the status of history painting, going against the contemporary view that still life was the lowest form of painting.

Caravaggio's talent attracted influential patrons like Cardinal Francesco Maria Del Monte and the Marchese Vincenzo Giustiniani. His career breakthrough came in 1599 with the public commission for the Contarelli Chapel in San Luigi dei Francesi. The unveiling of 'The Calling of St Matthew' and 'The Martyrdom of St Matthew' caused a sensation in Rome, drawing artists from across Europe and rapidly spreading his fame. By 1600-1601, Caravaggio received further significant commissions, including 'The Supper at Emmaus', commissioned by the Mattei brothers. This painting showcases his maturity as an artist, particularly his use of light to convey meaning and its theatrical cropping, drawing the viewer into the scene.

Caravaggio's use of light in 'The Supper at Emmaus' is extraordinary, highlighting the moment the disciples recognize the Risen Christ. The cropping and the illusionistic basket of fruit create an immersive experience for the viewer. X-rays reveal minimal changes during painting, except for the repositioning of an apostle's knee to enhance the projection of his arm and the fruit basket. While admired, the painting also faced criticism for its depiction of an unbearded Christ and the anachronistic mix of fruits. Caravaggio famously stated that painting still life required as much artistry as painting figures, emphasizing his devotion to nature and live models. He painted directly onto the canvas, a novel approach compared to traditional studio practices, which contributed to his unique style and enduring impact.

From 1602 to 1606, Caravaggio's fame was overshadowed by his increasingly problematic behavior, documented in police records for carrying weapons, libel, and assault. These incidents escalated, culminating in the fatal wounding of Ranuccio Tomassoni in 1606. This forced him to flee Rome, spending the last four years of his life on the run in Naples, Malta, and Sicily, seeking a papal pardon. During this period, his artistic style underwent a significant shift, as seen in 'Salome with the Head of John the Baptist'. This late work is characterized by a muted palette, broader brushwork, and a stark focus on gesture and expression, with a powerful, concentrated composition that omits background details, creating a deeply emotional and theatrical effect. The painting's juxtaposition of Salome's enigmatic expression and the sorrowful old maid adds to its complexity and moving quality.

Despite receiving a papal pardon, Caravaggio died of a fever in 1610 at age 39, a solitary and lonely death. Unlike other great masters, he had no traditional workshop to train pupils, relying on a more individualistic approach. Nevertheless, his radical technique, particularly his use of naturalism and dramatic chiaroscuro (light and shadow), profoundly impacted European art. Artists from across Europe flocked to Rome, absorbed his style, and propagated it in their home countries. However, by the mid-17th century, Caravaggio's style fell out of favor, and he was largely forgotten until his rediscovery in the early 20th century. A pivotal 1951 exhibition in Milan brought all known works by Caravaggio and his followers to public attention, leading to a resurgence of interest in his life and art. The National Gallery, with its three distinct examples, provides a unique opportunity to trace his artistic development and lasting influence.