The Lost Painting: The Quest for a Caravaggio Masterpiece By Jonathan Harr

Please use the following list of paintings as companion works to enhance the reading of The Lost Painting . Unfortunately, the Toledo Museum of Art does not have a Caravaggio in its collection. However, there are many works and artists in the collection that can illustrate and provide a better understanding of Caravaggio’s style and influence.

The first two paintings illustrate the two major styles (Renaissance and Mannerist) preceding Caravaggio’s arrival on the art scene. These paintings are helpful in putting Caravaggio’s impact in context.

1) Lorenzo Costa (1460-1535) - The Holy Family , 1510 . Gallery 19 This is an example of High Renaissance art. The Renaissance occurred roughly from the 14 th -16 th centuries. Characteristics of this style include emphasis on precise and abundant detail and linear perspective. Take note of the: expression/placement of three main figures; the handling and level of detail of the background. 2) Francesco Salviati (1510-1563) – The Holy Family with Saint John the Baptist , 1540 . Gallery 22 This is an example of Mannerism (about 1520-1580). A characteristic of this style is elongated proportions emphasizing a sophisticated, artificial aesthetic. How is the positioning of the figures different from Costa’s The Holy Family ? How is the background addressed? Mannerism gave new consideration to spatial relational and figural proportion on the canvas. Keep this in mind as you view the next paintings and transition into Caravaggio’s style.

The next two paintings illustrate the influence Caravaggio’s style had on artists of the time. Caravaggio did not have students but followers called the “Caravaggisti”. Look for the hallmarks of Caravaggio’s style: intense naturalism, dynamic action, keen psychological observation, dramatic use of light and dark.

3) Valentin de Boulogne (1592-1632) – Fortune Teller with Soldiers , 1620 . Great Gallery This work was thought to be a Caravaggio from roughly the 18 th century until the early 20 th century. What do you see that would cause this painting to be mistaken for a Caravaggio? 4) Hendrick Terbrugghen (1588-1629) – The Supper at Emmaus , 1616 . Great Gallery Terbrugghen was partially responsible for introducing Caravaggio’s style to Northern Europe. Terbrugghen directly references Caravaggio’s The Supper at Emmaus (see placard to side of painting). What similarities and differences do you see between Caravaggio’s style and original painting, and Terbrugghen’s take on the story?

The next two paintings are by artists referenced in The Lost Painting .

5) Artemesia Gentileschi (1593-1652/53) – Lot and His Daughters , 1636-38 . Great Gallery Her father was Orazio Gentileschi (1563-1639), a peer of Caravaggio’s. Orazio’s style was influenced by Caravaggio and he passed this influence onto his daughter, as seen in her earlier work. With this work we begin to see the end of Caravaggio’s influence. His style is becoming out of fashion. How does Artemesia’s evolving style now differ from Caravaggio’s style? 6) Gerard van Honthorst ( ) – The Adoration of the Shepherds , 1632 . Gallery 24 This is “Gerard of the Night” – the mistakenly attributed painter of The Taking of Christ . Like Gentileschi, earlier in his career Honthorst’s style more closely resembled Caravaggio’s. What differences do you now see in his style as compared to Caravaggio’s? What similarities do you see to Gentileschi’s?

Caravaggio’s influence is ongoing. The next two items encourage you to observe and discuss how Caravaggio’s style has informed artists through the centuries.

7) Rembrandt van Rijn (1606-1669) – Man in a Fur-Lined Coat , 1655-60 . Rembrandt is well noted for the psychological depth he created in his paintings. What other similarities do you see to Caravaggio? 8) Frank Stella (1936 - ) – Irregular Polygons TMA exhibit Frank Stella cites Caravaggio as an influence in his approach to the concept of space in his works. Caravaggio pushed the spatial boundaries of the canvas, creating the effect of figures leaving the picture plane and entering the space of the viewer. How does Stella’s work, as shown in the Irregular Polygons exhibit, display a similar effect?

Edited by: Jeanne Rudski, TMA Docent, 2011