Caravage

Biography

Michelangelo Merisi was born on September 29th 1571, with Milan where his/her father foreman works, Maçon, Architecte and intendant of the marquis de Caravaggio. In 1576, the plague obliges the family to turn over in her town of origin, the small town lombarde of the name of Caravaggio in Province of Bergamo. The Fermo father dies the following year. The future painter passes there his childhood and it draws its name from it from artist.

At the thirteen years age (1584) it enters as apprentice to the workshop of the painter Simone Peterzano (who claims Titien) to Milan where there remain four years. It turns over to Caravaggio in 1589 until the death of his mother and to the division of the family heritage in 1592, then it leaves for Rome.
Its first years in the large city are chaotic and badly known: this period forges its reputation of violent man and quarreller, often obliged to flee the legal consequences of its brawls and duels. He lives initially in the destitution, lodged by a family friend Mgr Pucci for whom he copies religious tables, and that he works at the Cavalier of Arpin where he produces his first early works the such Garçon with a fruit basket or the sick Bacchus Young person . Several historians evoke a voyage to Venice to explain certain typically Venetian influences, in particular for the rest during the escape in Egypt , but this established forever with certainty.

With Rome, he is finally noticed by the Cardinal Del Monte for tables as the monologuist of good adventure or the Musiciens , which takes it under its protection and the point of disjunction in its palate towards 1597. It painted there inter alia its first large religious tables.

Thanks to this very powerful and influence patron, it starts to receive important orders starting from 1599, in particular for the clergy: the Vocation and the Martyr of Saint Matthieu for the Contarelli vault of Saint-Louis-of-French, the Conversion of Saint Paul and the Crucifixion of Saint Pierre for the Cesari vault with Holy-Marie-of-People.

Several of its major works are refused to him by its silent partners, are considered to be too vulgar even scandalous, as the first version of the conversion of saint Paul (the second version will be accepted), Saint Matthieu and the angel (1602) or later the Mort of the Virgin (1606). Despite everything, these refused will find taking in the people of the Marquis de Giustiniani or the Duc of Mantoue, rich amateurs of Article.

The years that it passes to Rome under the protection of the cardinal are not free from difficulties: always also brawler, it is often interfered with criminal cases but also manners, and knows several stays in prison like at the hospital. Meanwhile, it paints most of its most considered tables and knows a success and a celebrity crescents through all Italy: the orders flow, even if certain fabrics are regularly refused.

In 1607, following a brawl with certain Tomasi, it fights in duel and kills its adversary. This act was worth then death sentence: obliged to flee Rome, it begins a long tour through Italy. However, Romain of heart and heart, it endeavors to return there all along his life - but without success.

He goes initially to Naples then to Malta where it arrives the summer 1607. Wishing to obtain the protection of powerful the Order of the Knights of Malta, it is presented to the large Master, Alof de Wignacourt, of which it paints twice the portrait. It also produces several tables like a Décollation of Saint Jean Baptiste or a Flagellation , ordered by the local clergy. In 1608, it is made Chevalier of grace of the Ordre of Malta.

But its dedication does not last: hardly a few months after its dubbing, caught up with by its reputation, it is erased order and jeté in prison, apparently shown “to have allured” the son of a dignitary of the order - perhaps the young page with the so malicious smile represented in the portrait of the Master. It owes its safety only with its escape, probably helped from some friends placed high.

Caravage unloads then with Syracuse where it produces several orders for the clergy: in particular the resurrection of Lazare and the Burial of Holy Lucie . It gets busy, with the support of its guards and by painting less provocative paintings, to obtain the grace of the pope in order to be able to return to Rome. In 1609, it turns over to Naples, where it is seriously wounded at the time of a new brawl: the news of its death goes up to Rome, but he survives and paints still several paintings like new a Saint Jean-Baptiste , a David and particularly dark Goliath or a Martyre of saint Ursule who is undoubtedly his very last fabric.

In 1610, it learns that the pope is been willing to grant his grace to him. It embarks then on a Felouque to approach Rome. But at the time of a stopover in Oporto Ercole, Frazione of Assembles Argentario, it is stopped by error or ill will and is thrown in prison during two days, where it falls ill. Slackened, it does not find any more its boat which did not await it. The legend says that depity, lost and feverish, it wanders on the beach in full sun where it ends up dying a few days later, the July 18th 1610. In fact, its death certificate, found in 2001, in the register of the deaths of the parish of Saint-Erasme of Oporto Ecole announces that it is deceased " at the hospital of holy Marie-Auxiliatrice, continuations of a maladie" . It will not have known that the pope Paul V, yielding to his friends and guards, had finally affixed his seal on the act of grace.

Work

The work of Caravage leaves seldom indifferent: often hated or scorned for its even scandalous ambiguous subjects, like for its believed realism and its theatricalness, regularly associated with the sulfurous life of the delinquent painter and assassin, she is also adored for her dramatic intensity and the undeniable genius of the artist.

It was necessary to await the beginning of the 20th century so that are recognized the importance of the work of Caravage and the extent of its influence on the pictorial art of the centuries which followed it until today. Many painters like Chick, the Tower, Vélasquez, Rubens or Rembrandt were largely inspired by Caravage. Today still, the technique known as of the Clearly-obscure introduced by Caravage is largely used photographs some by artists like Sally Mann, Robert Mapplethorpe, Joel-Peter Witkin and well of others.

The light and darkness

One of the great contributions of Caravage to painting is the technique known as of the Clearly-obscure . In the majority of its tables, the main characters of its scenes or its portraits are placed in the darkness: a dark part, a night outside or simply a black of ink without decoration. A powerful and raw light coming from an elevated point above the table wraps the characters with the manner of a projector on a scene of theater, as an sun ray which would bore through an attic window. The heart of the scene is particularly enlightened, and seizing contrasts thus produced confer a dramatic atmosphere and often mystic on the table.

In the Martyrdom of saint Mathieu (1599, 1600) the sunlight crosses the table to flow with flood in its center, on the white body of the assassin and the clear behaviors of the saint martyr and the young terrified boy, contrasting with dark clothing of the witnesses laid out in the darkness of what seems to be the chorus of a church. The saint draws aside the arms like accommodating the light and martyrdom; thus the executor, wearing only one white and pure veil around the size, seems an angel descended from the sky in the divine light to achieve the intention of God - rather than an assassin guided by the hand of the demon. He even pourait himself as the torturer is not that which one believes to see with the first glance. Indeed, holy Mathieu is already wounded and a group of figures escapes towards the left. The torturer would be then among these. The man would then carry help to the saint and would have taken the sword of the still open hand of the one of the runaways. The man of the center is also vêtu of a cloth like are the two figures of the foreground. These figures are the faithful ones come to be made baptize and one of them tries to carry help to the saint. As in the Vocation of saint Mathieu the protagonists are not identifiable with the first glance.

Added to contrasts of clearly-obscure, the sensuality of the body of the assassin and the dramatic movements of the horrified witnesses give life to the table: there is the feeling which time is suspended only one moment, that the scene occurs in front of our eyes and that the time of a wink all will go back moving.

These contrasts of clearly-obscure omnipresent in the work of Caravage will be often criticized for their extreme character considered as abusive. Stendhal describes them in these terms:

“Caravage, pushed by its character quarreller and sinks, was devoted to terribly represent the objects with very little light by charging the shades, it seems that the figures live in a prison lit per little light which comes from in top. ”

In spite of these criticisms, the technique of clearly-obscure will be taken again and adapted per many great painters through the ages, like Georges of the Tower, Rembrandt and much of others. Nowadays, theobscure one is often used in the cinema and photography, in particular in black and white: let us quote scenario writers like Orson Welles or of the photographers like Sally Mann or Robert Mapplethorpe.

While daring to exploit the light to accentuate the direction of a table to the detriment of a certain realism of situation and certain heavily established conventions - while insisting on the realism of the execution - the work of Caravage gave a great impulse to painting, a kind of first step early towards the modern conceptual ruptures in pictorial art which will take place several centuries after him.

A realism curling the naturalism

Except at its beginnings, Caravage produced in great majority of the religious tables, in order to honor with the orders of the Clergy. However, it will make scandal regularly and will be often requested to turn over to its brushes following the refusal of the fabrics proposed.

Two of the greatest reproaches which will be always made to him are a concern for Réalisme curling the naturalism before the hour in the execution of its figures, as well as the choice of its models.

Rather than to seek to paint beautiful figures a little éthérées to represent the acts and characters of the Bible, Caravage prefers to choose its models among the people: prostitutes, street urchins or beggars will often pose for the characters of its tables, including the biblical Saints. For Scourging , it composes, like a choreography, bodies with a Christ in a movement of total abandonment and a charismatic beauty. For the Saint Jean Baptiste with the ram , it shows small a gouape with the provocative glance in a lascive installation - it was known as that the model was one of his/her lovers.

The position of the Église in this respect testifies to some Schizophrénie: on a side, this kind of popularization of the Religion interests it much in a time or the Counter-Reformation extends in the catholic Italy , in order to show itself under one day human per contrast with the posted austerity of the Protestantisme, other, the representation of the saints under the vulgar features good-for-nothings left the hollows is considered to be incompatible with the values of purity and holiness quasi aristocratic which vehicle the church of the time.

This feeling is reinforced by the choice of Caravage to paint with a great concern of the Réalisme in the execution of its figures: he refuses to correct the imperfections of his models to make more them “beautiful” or in conformity with the visions than the church has its saints. For example, the first version of sound Saint-Mathieu and the angel will be refused not only for the sensuality of the angel considered to be commonplace, but also for the dirtiness of the feet of the saint, thoroughly reproduced according to model.

The table of Caravage which will cause the greatest scandal with the eyes of the Church will be the Mort of the Virgin , for the very realistic representation of the body of the Virgin Mary with an inflated belly - accompanied by sulfurous rumors according to which the model would have been the corpse of a found pregnant prostitute drowned in the the Tiber.

Thus, the consideration of the Catholic church towards Caravage and its tables will oscillate from one end to another of its career between the enthusiastic reception and the absolute rejection. The painter will find his larger guards there - like the cardinal del Monte - like its larger enemies.

But the judgment will not come only from the Church: sometimes the choices of Caravage, associated with its bad reputation, will be worth many criticisms to him very vehement through the ages. Nicolas Poussin - although it was largely inspired some - will say of him that “it had come to destroy painting”. Others will describe it as painter of the ugliness, as in the article which a prestigious encyclopedia at the end of the 19th century devotes to him:

“ Considered as painter, Caravage is an executant of first order: its painting is firm and of a beautiful paste, but its naturalism involved it towards the borders of the ugliness, and one can conceive doubts about the legitimacy of the system of clearly-obscure which it put at the mode and which makes play black an abusive part. ”

Imposing bodies and ambiguous erotism

The human figure plays a central role in the painting of Caravage. With share in some rare natural dead carried out at its beginnings, the characters are always the principal subjects of its tables: that it is in portraits or settings in scenes, the decoration is often tiny room to adequate portion - being used only to emphasize the characters or even sometimes completely absent.

More particularly still, the human body is an object of fascination for Caravage. It takes great care to represent it in its least most realistic details - to whiteness blafarde of the skin of a Saint Jean Baptiste, or dust under the feet of Saint Mathieu which will be reproached to him so much.

The bodies of Caravage are almost exclusively male, young people or old: one does not know a representation to him of nude women. It seems to have a predilection for the squat bodies, imposing and equipped with projecting muscles: in many tables, the characters seem to invade all the framework. It is particularly visible in tables like the David of 1600, the Christ with the column or the Couronnement of spines .

The erotism which emerges from these imposing bodies is there often disconcerting this which were worth to him, still, of numerous criticisms. Homosexual attractions and pederastic of Caravage were hardly established with certainty, the more so as it is a subject which the constrained chroniclers prefer to keep under silence, even nowadays - but the observation of its work leaves few doubts on this subject. This sexuality, considered as infamous at the time and vigorously condemned by the Church, was worth to him many problems with justice and the capacity: it was implied in many sex cases.

Thus, much of its tables were put at the index for their ambiguous erotism, including in the religious tables: the Christ itself, in the Incredulity of Saint Thomas , is represented with a very particular sensuality; the expression languorous of the angel in Holy Mathieu and the Angel , considered as commonplace and moved, were worth in its table to be refused by its silent partners of the Clergé.

The painter and critical Giovanni Baglione which admired Caravage for its technique and was inspired, was much also his enemy declared and with often have mesh to leave with him. Towards 1602, in answer to the sulfurous Victorious Love , it paints several version of a table entitled the Divine love and the Love Profanes putting in scene the same young person boy surprised by a divine angel at the time of sexual escapades with a satyr or a demon. In one of these versions preserved at Rome, the satyr turns the head towards the spectator, and one can recognize there the features of Caravage caricatured by Baglione.

Today still, more than 400 years after, the erotism of Caravage did not lose its character disturbing, subversive and ambiguous: our contemporaries have still evil to observe tables like the Victorious Love , the Jeune Saint Jean Baptiste with the ram or even the musicians without feeling a certain embarrassment.

Mysticism in subversion

Caravage painted religious subjects mainly and all its work undoubtedly shows that it was very believing, in a mystical way very . However, which one knows of his adventurous and criminal life, of its sexual escapades and its bravados vis-a-vis as well as being able it of the State of the Église, contrast curiously with the image which one can have of a pious and devout man.

Paradoxically, the key of this enigma is undoubtedly to seek in its Mysticisme. A such François d' Assise or a hermit rejecting the temporal life in order to devote itself to the Spirituality, Caravage seems to raise his report/ratio with the Divin and the Sacré well beyond the official bond which the human Église represents. It thus approaches the direction first, etymological of the word “Religion” which definite as what connects the man to God. This direct mysticism does not go without a certain idea of repentance that Caravage expresses sometimes in its tables: in the David and Goliath , the decapitated head of Goliath is its self-portrait, whose face reflects a fallen through cry, stops open, a last challenge with the life, as if he asked to forgive the assassin and the brigand who it was.

In many his tables the painter chooses people belonging to the “dregs” of the people - male prostitutes, vagrants, beggars, street urchins - to model the saints characters of the Bible, the large angels or the Allégorie S like the Amour or the Mercy. He does not hesitate either to represent very religious scenes with a disconcerting and believed sensuality, sometimes curling the obscenity or the Pornographie.

To interpret these characteristics as simple provocations of a man quarreller against the Église would be reducing. By introducing elements belonging to the life of the human being into what it has of more material, of body and physical, the painter seems to want to make a direct link between the man and the Divin. Scorning the éthérées representations characters Holy S as a icon S of a kind of divine ideal out of time and space, shorting-circuit the complex intermediaries between God and the man who are the clergy and the Church and that it considers often corrupted, he anchors his vision of the Sacré directly in the rough and significant reality of the human being. He is consequently in the search of a purity which under no circumstances would it find that in the feelings and the feelings of its next like itself. By representing in its work only characters emphasized by the sets of shades and light, by ignoring the often invisible landscapes or decorations or all outlined Juste, does not affirm T he not with force that largest, most beautiful and most important of works of God is indeed the man himself?

Thus, by this independence provocante which it gives to its mystical faith compared to the religious institutions of its time, by this assertion of the preeminence of the man in the creation, as by its research of the divine Pureté where the catholic guns see only Péché S and diabolic temptations, one can say of Caravage which he was a painter subversive with the noblest direction of the term.

Subversion with the noble direction indicates the handing-over in question of the Dogme S and the established capacities. She is regarded as a big role played by the Art. The artist is often seen like an individual equipped with a particularly acute conscience of the human condition and invested role to reveal it through his works, that it is in a way discrete and humble or bright and revolutionary, that it is loan of mysticism or on the contrary rejecting any form of Transcendance. In this same logic of mystical subversion, an artist much more recent, the poet and scenario writer Italy N Pier Paolo Pasolini, will show by his works, his life and his ideas of the resemblances astonishing to Caravage - until in their common destiny since after a sulfurous and animated life, both will know a mysterious and unexplained death on a beach of the Italian coasts.

List pictorial works

Still life with flowers and fruits (1590) - Oil on fabric, 105 X 184 cm - Galleria Borghese, Rome
Boy peeling a fruit (towards 1593) - Oil on fabric, 75.5 X 64,4 cm - Longhi Collection, Rome
Boy with a fruit basket (1593) - Oil on fabric, 70 X 67 cm - Galleria Borghese, Rome
the sick Bacchus young person (towards 1593) - Oil on fabric, 67 X 53 cm - Galleria Borghese, Rome
Boy bitten by a Lizard (1594) - Oil on fabric, 66 X 49,5 cm - National Gallery, London
the extase of Saint François (1595) - Oil on fabric, 92.5 X 128,4 cm - Wadsworth Atheneum, Hartford
the Musicians (1595 - 1596) - Oil on fabric, 92 X 118,5 cm - Metropolitan Museum off Art, New York
Bacchus (towards 1596) - Oil on fabric, 95 X 85 cm - Galleria degli Uffizi, Florence
card players (1596) - Oil on fabric, 90 X 112 cm - Kimbell Art Museum, Fort Worth
the player of lute (towards 1596) - Oil on fabric, 94 X 119 cm - Hermitage, Saint-Pétersbourg
the Monologuist of good adventure (1596) - Oil on fabric, 115 X 150 cm - Musei Capitolini, Rome
rest during the escape in Egypt (1596 - 1597) - Oil on fabric, 133.5 X 166.5 cm - Galleria Doria-Pamphilj, Rome
Holy Madeleine (1596 - 1597) - Oil on fabric, 122,5 X 98,5 cm - Galleria Doria-Pamphilj, Rome
the monologuist of good adventure (1596 - 1597) - Oil on fabric, 99 X 131 cm - Museum of Louvre, Paris
Basket of fruits (towards 1597) - Oil on fabric, 46 X 64 cm - Pinacoteca Ambrosiana, Milan
Portrait of a courtesan (towards 1598) - Oil on fabric, 66 X 53 cm - private Collection
Judith decapitating Holopherne (towards 1598) - Oil on fabric, 145 X 195 cm - Galleria Nazionale d' Arte Antica, Rome
the arrest of Christ (1602) - Oil on fabric, 133,5 X 169,5 cm - National Gallery off Ireland, Dublin
Marthe and Marie Madeleine (towards 1598) - Oil on fabric, 97.8 X 132.7 cm - Institute off Arts, Strait
Holy Catherine of Alexandria (towards 1598) - Oil on fabric, 173 X 133 cm - Thyssen-Bornemisza Collection, Madrid
Head of Jellyfish (1598 - 1599) - Oil on fabric assembled on wood, 60 X 55 cm - Galleria degli Uffizi, Florence
Narcisse (1598 - 1599) - Oil on fabric, 110 X 92 cm - Galleria Nazionale d' Arte Antica, Rome
Jupiter, Neptune and Pluton (1597 - 1600) - Fresco with the ceiling, oils, 300 X 180 cm - Casino Boncompagni Ludovisi, Rome
Portrait of Maffeo Barberini (1599) - Oil on fabric, 124 X 99 cm - private Collection
the Vocation of Saint Matthieu (1599 - 1600) - Oil on fabric, 323 X 343 cm - Contarelli Vault, San Luigi dei Francesi, Rome
the martyrdom of Saint Mathieu (1599 - 1600) - Oil on fabric, 323 X 343 cm - Vault Contarelli, San Luigi dei Francesi, Rome
the player of lute (towards 1600) - Oil on fabric, 100 X 126,5 cm - Metropolitan Museum off Art, New York
the conversion of Saint Paul (1600) - Oil on wood of cypress, 237 X 189 cm - Odescalchi Balbi Collection, Rome
the Conversion of Saint Paul to the way of Damas (1600) - Oil on fabric, 230 X 175 cm - Cerasi Vault, Santa Maria del Popolo, Rome
the young Jean-Baptiste Saint with the Ram (1600) - Oil on fabric, 129 X 94 cm - Musei Capitolini, Rome
David (1600) - Oil on fabric, 110 X 91 cm - Museo del Prado, Madrid
crucifixion of Saint Pierre (1600) - Oil on fabric, 230 X 175 cm - Vault Cerasi, Santa Maria del Popolo, Rome
the Sacrifice of Isaac (1601 - 1602) - Oil on fabric, 104 X 135 cm - Galleria degli Uffizi, Florence
the supper with Emmaüs (1601 - 1602) - Oil on fabric, 139 X 195 cm - National Gallery, London
the incredulity of Saint Thomas (1601 - 1602) - Oil on fabric, 107 X 146 cm - Sanssouci, Potsdam
Holy Matthieu and the angel (1602) - Oil on fabric, 232 X 183 cm - Destroyed in 1945
inspiration of Saint Matthieu (1602) - Oil on fabric, 292 X 186 cm - Contarelli Vault, San Luigi dei Francesi, Rome
the crowning of spines (1602 - 1603) - Oil on fabric, 125 X 178 cm - Broke di Risparmi, Prato
the love Victorieux (1602 - 1603) - Oil on fabric, 156 X 113 cm - Staatliche Museen, Berlin
the setting with the tomb (1602 - 1603) - Oil on fabric, 300 X 203 cm - Pinacoteca, the Vatican
Christ with the Garden (1603) - Oil on fabric, 154 X 222 cm - private Collection
Holy Jean Baptist (1603 - 1604) - Oil on fabric, 94 X 131 cm - Galleria Nazionale d' Arte Antica, Rome
Holy Jean Baptist (1604) - Oil on fabric, 172,5 X 104,5 cm - Nelson-Atkins Museum off Art, Kansas City
the Madonna pilgrims (1603 - 1605) - Oil on fabric, 260 X 150 cm - S. Agostino, Rome
the Sacrifice of Isaac (1605) - Oil on fabric, 116 X 173 cm - Piasecka-Johnson Collection, Princeton
Holy Jerome (towards 1606) - Oil on fabric, 112 X 157 cm - Galleria Borghese, Rome
Ecce Homo (towards 1606) - Oil on fabric, 128 X 103 cm - Palazzo Bianco, Genoa
Holy François (1606) - Oil on fabric, 125 X 93 cm - Galleria Nazionale d' Arte Antica, Rome
Holy François (1606) - Oil on fabric, 190 X 130 cm - Pinacoteca, Cremona
the death of the Virgin (1606) - Oil on fabric, 369 X 245 cm - Museum of Louvre, Paris
the Madonna with the Snake (1606) - Oil on fabric, 292 X 211 cm - Galleria Borghese, Rome
the Supper with Emaüs (1606) - Oil on fabric, 141 X 175 cm - Pinacoteca di Brera, Milan
: Christ with the column (towards 1607) - Oil on fabric, 134.5 X 175.5 cm - Museum of the Art schools, Rouen
Scourging (towards 1607) - Oil on fabric, 390 X 260 cm - Museo Nazionale di Capodimonte, Naples
Holy Jerome (1605 - 1606) - Oil on fabric, 118 X 81 cm - Monastery of Montserrat
David (1606 - 1607) - Oil on wood, 90.5 X 116 cm - Kunsthistorisches Museum, Vienna
Salome with the head of Saint Jean Baptist (towards 1607) - Oil on fabric, 90.5 X 167 cm - National Gallery, London
crucifixion of Saint Andre (1607) - Oil on fabric, 202.5 X 152.7 cm - Cleveland Museum off Art, Cleveland
seven acts of mercy (1607) - Oil on fabric, 390 X 260 cm - Pio Church Assembles della Misericordia, Naples
the Madonna of the rosary (1607) - Oil on fabric, 364,5 X 249,5 cm - Kunsthistorisches Museum, Vienna
Holy Jerome (1607) - Oil on fabric, 117 X 157 cm - Saint John Museum, Valetta
Holy Jean-Baptiste with the fountain (1607 - 1608) - Oil on fabric, 100 X 73 cm - Collezione Bonello, Malta
Portrait of Alof de Wignacourt '' (1607 - 1608) - Oil on fabric, 195 X 134 cm - Museum of Louvre, Paris

Portrait of Alof de Wignacourt (1608) - Oil on fabric, 118,5 X 95,5 cm - Galleria Palatina (Palazzo Pitti), Florence

the decapitation of Saint Jean Baptist (1608) - Oil on fabric, 361 X 520 cm - Saint John Museum, Valetta

the burial of Holy Lucie (1608) - Oil on fabric, 408 X 300 cm - Santa Lucia, Syracuse

Love deadened (1608) - Oil on fabric, 71 X 105 cm - Galleria Palatina (Palazzo Pitti), Florence

the puller of teeth (1607 - 1609) - Oil on fabric, 139,5 X 194,5 cm - Galleria degli Uffizi, Florence

the resurrection of Lazare (1608 - 1609) - Oil on fabric, 380 X 275 cm - Museo Nazionale, Metz-native

the Annunciation (1608 - 1609) - Oil on fabric, 285 X 205 cm - Museum of the Art schools, Nancy

Nativity with Saint François and Saint Laurent (1609) - Oil on fabric, 268 X 197 cm - Lost

worship of the magi (1609) - Oil on fabric, 314 X 211 cm - Museo Nazionale, Metz-native

David (1609) - Oil on fabric, 125 X 101 cm - Galleria Borghese, Rome

Salome with the head of Saint Jean Baptist (1609) - Oil on fabric, 116 X 140 cm - Palacio Real, Madrid

disavowal of Saint Pierre (1610) - Oil on fabric, 94 X 125 cm - Shickman Gallery, New York

Holy Jean-Baptiste (1610) - Oil on fabric, 159 X 124 cm - Galleria Borghese, Rome

the Martyrdom of Saint Ursule (1610) - Oil on fabric, 154 X 178 cm - Banca Commercial Italiana, Naples

Holy Jean Baptist (?) - Oil on fabric, 102,5 X 83 cm - Öffentliche Kunstsammlung, Basle

the Crowning of spines (?) - Oil on fabric, 165,5 X 127 cm - Kunsthistorisches Museum, Vienna

Polemic on works of Loaches

Beginning 2006, a polemic took place about two tables found in 1999 in the Saint-Anthony church of Loches in France, in which the authenticity established by some specialists was contradicted per many others which regard them as simple copies. It is of a version of the Souper in Emaüs and about a version of the incredulity of Saint Thomas . It should be noted that Caravage often carried out itself several versions of the same table, going until carrying out quasi-copies of them comprising only some different details. To also note that one has just authenticated a new work of Caravage in November 2006. Relegated in the basement of the Royal Collection of Buckingham Palace, a table entitled the " Vocation of Saint Pierre and Holy André" and until regarded there as being a copy, is allotted to the famous painter finally and will be exposed for the first time next March in a traditional exposition with " The Art off Italy". The fabric, which is 140 cm long on 166 cm in height, was covered with a thick layer with dust and varnish, revealing it monochromic with various shades chestnuts.

References

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