By Felix Witting
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Extra resources for Caravaggio
This is evident in his altarpieces, such as The Flagellation of Christ (p. 144) created for the Church of San Domenico Maggiore. In certain paintings he attempted to work against the impression of bright colour, which could have reduced the effect of grandeur, by applying the pigments that would determine the picture’s overall colouring before applying the opaque prime coat. Thus Caravaggio obscures the brilliant colours with neutral half-tones, which, for him, was a new means of achieving the important comprehensive impression in his works.
184-185), as is his admiration for the heroic torment of the mother, who envelops her son’s corpse with her love (The Entombment p. 90). The artist, attracted more by terrestrial life than by theological issues, seems not to have been compelled to constant religious practice. On the contrary, Michelangelo Merisi may have given credit to far-fetched beliefs and superstitious practices. qxp 12/9/2011 2:48 PM Page 59 during the long periods he spent playing cards. When he painted Bohemian fortune tellers, was it an allusion to a personal experience, in that he did not mind giving them his own hand to have his fortune told, or was he addressing a theme of which he was questioning the meaning?
4041). Caravaggio worked on the lighting in these paintings, of which The Fortune Teller, according to Baglione, was painted for the Cardinal del Monte, the best copy of which is in the Capitolinian collection (there is a replica in the Louvre)37, and Saint John the Baptist (p. 70), sometimes known as Youth with a Ram, found in the Galleria Doria Pamphilj in Rome (with a replica likely in Pommersfelden Castle near Bamberg, Germany)38. The subject of the first of these paintings, which was created for his patron, was taken up by Manfredi and Strozzi in slightly lighter colours.