Caravaggio's Roman Period: Masterpieces and Controversies

The scene in the foreground, with figures, depicts Judith beheading Holofernes. The body of Holofernes extends to the bottom of the canvas. The anatomy of the naked body is rendered with absolute perfection. He is depicted as a bearded man with strong muscles. The figure of the maid is waiting with her *mantilla* extended to receive the head and take it to the camp of the Jews. Ocher and white are used to highlight the main figure, and red in the curtains serves to emphasize the importance of the character below. The rest of the room is black, with a gloomy light illuminating the figures. Details such as the earrings that the *Madeleine* had thrown down are now being used by Judith. There is realism in the figures, while the setting is eerie and illusionistic.

Precedents and Influences

This work shares similarities with Tintoretto's piece of the same title. The composition features a cut foreground and foreshortening, similar to Artemisia Gentileschi's *Judith*, one of Caravaggio's best followers. This piece dates back to Caravaggio's second period in Rome (1600-1606), during which he emphasized monumentality and began to delve into the underworld, reflected in the models chosen for his works. He continued to work for the Roman elite, who came from prominent Roman families. This created a stark contrast between his two worlds. He was even accused of religious impropriety, but the elite continued to buy and praise the controversial pictures.

Caravaggio's Tumultuous Life

From this point on, Caravaggio led a busy life. He left the house of Cardinal del Monte and began to have run-ins with the law, eventually leading to a murder charge and his subsequent flight from Rome. His use of low-life models suggests a certain identification with them. During this time, Caravaggio's life was immersed in these slums, contrasting with his Christian upbringing and religious protectors.

Works of the Period

Saint John the Baptist

The figure is naked, appearing with a lamb, which immediately sparked controversy due to its unconventional depiction of the religious theme. The subject is portrayed as a nude shepherd sunbathing, lacking idealization. He is a mere child with tanned skin. Caravaggio masterfully uses light and shadow, and the nudity subtly hints at Saint John's sexuality. The composition features a large foreshortening, somewhat influenced by the nudes in Michelangelo's Sistine Chapel. The significant height difference in the legs creates a sense of movement and dynamism. The red mantle, along with the ram's position and Saint John's diagonal posture, further emphasizes this dynamism. Caravaggio skillfully manipulates light and form to achieve a highly dynamic composition.

Amor Victorious

Among the different interpretations, most see a secular representation of Eros. However, given the presence of a shell and the fact that it was commissioned by a marquis, other interpretations may hold merit. The painting can be seen as a representation of a child, love, or truth through a child, depicted neatly. It symbolizes the triumph of love as a symbol of truth over the world of war. This painting also caused controversy regarding Caravaggio's possible homosexuality. A child appears happy and unbiased, joyful above all prejudices.

Parmigianino's Cupid (or Eros or Amor)

Here, the sexual aspect and suggestion are more alluring than full nudity. The androgynous figure, along with a boy with bird-like wings, is executed in typical Mannerist proportions. Both figures are unrealistic and situated in an imaginary environment.

David and Goliath

This painting shares a thematic link with *Judith and Holofernes*. It depicts the justification of a crime for the salvation of the people of Israel, who were promised liberation. David cuts off Goliath's head after killing him. The body, depicted in foreshortening, leads to a dark background.