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INTRODUCTION Between 1600 and 1650 a Surprisingly Novel Kind of Art Evolved in Rome

INTRODUCTION Between 1600 and 1650 a Surprisingly Novel Kind of Art Evolved in Rome

INTRODUCTION Between 1600 and 1650 a surprisingly novel kind of art evolved in . The favourable economic situation – Catholic reform was 400 on the advance, ensuring plentiful commis- sions from ecclesiastical quarters – attracted artists from other regions of as well as from France and the Low Countries. With- in a very short space of time the papal city transformed itself into an artistic centre of almost irresistible influence. The art of this time was marked by a hitherto unprecedent- ed visual munificence, a lively mixture of and imagination, and not least by a highly emotional character.

It all began around the year 1600, when the Milanese artist Michelangelo Merisi da Cara- vaggio (1571–1610) created a furore with his paintings in Rome. With their thrilling nat- uralism, dramatic use of light and shade (chiaroscuro) and powerful narrative structure, ’s works represent a caesura in the history of European painting. A younger generation of artists with an international out- look – today referred to as the Caravaggists – adopted his radical style of painting, dissemin- ating it across large parts of Italy and the rest of Europe. Only a few years after Caravaggio’s death the Neapolitan-born artist (1598–1680) entered the scene, quickly rising to become its new star. The exhibition is divided into sections His figures were imbued with passionate according to concepts that were common movement from the start. He visualized even in contemporary discourse about art: mera- invisible forces, not least those of the psyche, viglia & stupore (wonderment & astonish- by painterly use of light and moving drapery. ment), orrore & terribilità (horror & the terri- His extensive oeuvre encompassed lifelike fying), amore (love), moto & azione (motion sculptures and busts, richly decorated chapels, & action), vivacità (liveliness), passione & monumental architecture and even paintings. compassione (suffering & compassion),vi - sione (vision), and scherzo (jest, joke, hoax). Caravaggio and Bernini both displayed a In contrast to the name ‘’ that was novel interest in depicting as well as evoking only later applied to this epoch, these terms strong feelings and passions. How can they be were familiar to the artists presented here and explored and rendered in art? What formal their contemporaries. They show one possi- strategies are particularly suited to this task? ble manner of interpretation without exclud- These questions interested not only Caravag- ing any others. Today – a time in which emo- gio and Bernini but also a number of other tions once again loom large – they can serve painters and sculptors, including the classi- to sharpen our eyes not only to an earlier cist masters Nicolas Poussin and François visual culture but also to the present day. du Quesnoy, – and not least the poets and composers of the time. This art is also invariably about an intellectual examination of states of emotion: as the distinguished art historian Erwin Panofsky noted, people in the age of the Baroque ‘not only feel, but are also aware of their own feelings’. 1 2 3 14 3 Santa Maria della Vittoria

4 4 24 25 5 Fontana di 6 Santa Maria sopra Minerva 27 7 Pantheon

2 5 8 San Luigi dei Francesi 53 B 9 Palazzo Giustiniani

1 10 San Pietro 48 11

6 Artist’s Houses C 7 30 B Gian Lorenzo Bernini, 1643–1680 C Caravaggio, c. 1603–1606 8 9 47 Antonio Tempesta, Map of Rome (detail), 1645, Art Works (see booklet numbers) etching, 105 × 240 cm 11 29 14 Bernini, The Ecstasy of St Teresa of © New York, Ávila The Metropolitan Museum of Art 24 Carracci, St Sebastian Thrown into the 25 Poussin, The Destruction of the Temple in Jerusalem by Titus 27 Bernini, 29 Bernini, Triton 30 Bernini, Elephant and Obelisk 31 Mochi, St Veronica 10 31 47 Caravaggio, The Crowning with Thorns 48 , Mary Magdalen with Two Angels 53 Bernini, Four Grotesque Heads of Men SAAL 1 – MERAVIGLIA & STUPORE MICHELANGELO Like many artists of his time, Caravaggio was GIAN LORENZO The son of a sculptor, even as a young artist, MERISI DA drawn to Rome by the favourable art market. BERNINI Bernini was capable of creating astonishingly CARAVAGGIO There the public commissions he executed lifelike portrait busts and sculptural groups made him famous virtually overnight. In 1606, that were full of movement. As an architect having inflicted a fatal wound on his rival in a 1598– he left his mark on Rome’s cityscape with his 1571– swordfight, he fled to Malta, where he hoped to 1680 ROME remodelling of St Peter’s Square. His patrons 1610 PORTO ERCOLE rehabilitate himself by being accepted into the included members of the aristocracy as well Order of the Knights Hospitaller. Forced to flee as popes and cardinals. Bernini was uniquely once more after another fight, he subsequently adept at exploiting their favour and flattering painted major religious works in Sicily and later his clientele with his polished manners – and Naples. In 1610 he fell ill and died before he also at outbidding his fellow-artists in vying could reach Rome and receive a papal pardon. for commissions.

C. Errard, O. M. Leoni, Portrait of Caravaggio, Portrait of Bernini, engraving, 165 × 128 mm etching, 143 × 110 mm Gallery 1 Meraviglia & Stupore (1–4) Orrore & Terribilità (5–9)

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Entrance

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GALLERY 1 GALLERY 1 1 401 The dreamy gaze and parted lips of this 3 403 The mythical figure of , whose hair youth imbue him with a highly expressive was transformed into a nest of serpents, Francesco Mochi character, as does his pose, turned sharply to Gian Lorenzo Bernini turned anyone who looked at her to stone. (1580–1654) (1598–1680) the left. Mochi’s powerful creation gives the Avoiding this deadly power with the aid of

YOUTH (ST JOHN youth himself a sense of wonderment. Often MEDUSA a polished shield, the hero Perseus succeed- THE BAPTIST OR identified as John the Baptist, the figure’s 1638–1640, marble ed in beheading Medusa. Bernini carved the Rome, Musei Capitolini, THE ARCHANGEL forceful sideways look makes it more likely writhing snakes out of the stone with con- GABRIEL?) Palazzo dei Conservatori c. 1605/10, marble that it represents the Archangel Gabriel. To- summate mastery. With her open mouth and Chicago, Art Institute gether with a bust of Mary as its pendant it the tensed, sinuous curve of her eyebrows, of Chicago probably formed part of an Annunciation Medusa’s facial expression strikingly con- group in a small chapel. veys fear and terror at her imminent demise.

2 402 The young and handsome Narcissus 4 404 Reaching for the succulent cherries in front cold-heartedly rejected all attempts to gain of him, a handsome youth is surprised by a Michelangelo Merisi his affection. As punishment, the goddess Michelangelo Merisi lizard which darts out of the shadows and da Caravaggio Nemesis made him fall in love with his own da Caravaggio bites him. In shock he snatches back his (1571–1610) (1571–1610) reflection in a pool. Completely entranced hand, emitting a small cry of pain and aston- NARCISSUS by his own image, Narcissus can no longer BOY BITTEN BY A ishment. Caravaggio concentrates the action c. 1600, canvas tear himself free. With his left hand he ca- LIZARD into a brief, intense moment: desire for the Rome, Gallerie c. 1597/98, canvas resses the surface of the water, as if trying to fruit, the bite and the boy’s immediate reac- Nazionali d’Arte Antica, Florence, Fondazione di Palazzo Barberini seduce his own image. In Caravaggio’s paint- Studi di Storia dell’Arte tion are almost simultaneous happenings. ing, looking into the water has caused initial Roberto Longhi With the subject’s direct gaze and the con- wonderment to turn into an ill-fated love. fined field of view, the picture demands that the viewer empathize with the boy’s fright.

GALLERY 1 – MERAVIGLIA & STUPORE GALLERY 1 – MERAVIGLIA & STUPORE 5 405 406 Alarmed at reports of the newborn Jesus being 6 409 The beautiful Judith freed the besieged Jewish ‘king of the Jews’, King Herod of Judea or- town of Bethulia by beheading the Assyrian dered the slaying of all infant boys under the commander Holofernes, who had succumb- (1575–1642) age of two. Reni uses stark contrasts to depict (1579–1620) ed to her charms and the effects of his over- the story in his painting, framing the animated indulgence in wine. With an almost imper- MASSACRE OF THE JUDITH WITH INNOCENTS dramatic events at the centre of the picture THE HEAD OF ceptible smile, Saraceni’s Judith holds up his 1611, canvas with two calmer zones. Two putti with palm HOLOFERNES head like a trophy before it disappears into Bologna, Pinacoteca c. 1610, canvas fronds – symbols of the martyr’s death suffered the already open sack. The shadows cast by Nazionale di Bologna Vienna, Kunsthisto- by the innocent children – look down on the risches Museum, the flickering candlelight emphasize the soft gruesome scene and the pallid, lifeless bodies Picture Gallery features of the young heroine, the wizened lying on the ground. The horrified faces of the skin of her serving maid, and the face of mothers and children graphically express the Holofernes, frozen in his death-cry. It has terrifying nature of the scene (terribilità) and been suggested that the latter’s features are a their horror (orrore) at it. The imminent threat self-portrait of the artist. of death culminates in the dagger at the centre of the composition that simultaneously em- Carlo Saraceni came to Rome from phasizes the symmetry of the picture. in 1598, remaining in the city until 1619. As one of the first ‘’, he was ex- Guido Reni’s painting was commissioned by tremely successful, as the numerous versions the merchants Ercole and Agostino Berò as of this painting attest. an altarpiece for their family chapel in the church of San Domenico in Bologna. Reni painted it in Rome, where the art of the late Caravaggio continued to be influential. Reni himself, however, was a representative of the classicistic movement exemplified by the Carracci (nos. 24, 43, 44), who even when rendering drastic subject matter such as this were intent on achieving a harmonious and ‘beautiful’ composition.

GALLERY 1 – ORRORE & TERRIBILITÀ GALLERY 1 – ORRORE & TERRIBILITÀ 7 407 The biblical account relates how the shep- 8 408 Tanzio makes David’s triumph plain by an- herd boy David felled Goliath in single com- choring Goliath’s bloodied head to the lower Michelangelo Merisi bat with a blow from his sling before decapi- Antonio d’Enrico, edge of the picture. The boy’s tensed, power- da Caravaggio tating him with his own sword. When the called Tanzio da Varallo ful muscles create a striking diagonal further (1571–1610) (c. 1575/80–c. 1632/33) Philistines saw that their strongest warrior reinforced by the oppressive hierarchy of DAVID WITH THE had been vanquished they fled the field of DAVID WITH THE living victor and dead loser. Arm and sword HEAD OF GOLIATH battle. As a result, David rose in the favour HEAD OF GOLIATH intersect at the elbow, forming a cross that c. 1600/01, poplar c. 1620, canvas of the king of the Israelites. separates the heads of the two combatants Vienna, Kunsthisto- Varallo, Palazzo dei risches Museum, Musei – Pinacoteca and directs the viewer’s eye to the stones in Picture Gallery Caravaggio’s David holds out the disfigured the pouch at bottom right with which David head of Goliath to the viewer. He has ex- vanquished the physically superior Goliath. changed his sling for the giant’s sword, which he shoulders like a shepherd’s staff. The pose and the shadow cast by the sword on David’s 9 408 In Valentin de Boulogne’s painting David bare neck recall the stroke of the sword that is depicted not in triumphal pose but bend- severed head and trunk and which lingers in Valentin de Boulogne ing over Goliath’s head and supporting it the blood still dripping from Goliath’s neck. (1591–1632) almost tenderly. Gazing out of the picture, The bruised brow also recalls the preceding David seems to be contemplating his deed. DAVID WITH THE duel. With his dramatic lighting Caravag- HEAD OF GOLIATH The flawless skin, the soft animal pelt and gio contrasts movement and stasis, life and c. 1615/16, canvas the white cloth that has slipped from his Madrid, Museo death, beauty and horror. shoulder form a bright contrast to Goliath’s Nacional Thyssen- Bornemisza dark brown hair and the undefined gloomy setting.

At the sight of Goliath’s gigantic head, the shocked face of the soldier on the left of the picture gives graphic expression to the affect of orrore.

GALLERY 1 – ORRORE & TERRIBILITÀ GALLERY 1 – ORRORE & TERRIBILITÀ Gallery 2 Amore (10–21)

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(Centre of the room) GALLERY 2 GALLERY 2 10 410 Baglione’s picture was painted in response to yet still living, is intended to evoke compas- a work of Caravaggio’s with the same sub- sion with the tormented martyr. The young ject (also in Berlin), from which he also bor- sculptor’s strategy is to make this feeling (c. 1566–1643) rowed the powerful chiaroscuro. ultimately turn into admiration for his own

SACRED AND artistry. PROFANE LOVE Sacred love is represented as an armour-clad c. 1602, canvas archangel wielding a thunderbolt and tower- Berlin, Staatliche Museen zu Berlin, ing above profane love, a young boy lying 12 411 This painting created quite a sensation Gemäldegalerie helplessly on the ground with broken ar- among Caravaggio’s contemporaries. The rows. Turning away at bottom left is a de- Michelangelo Merisi openly displayed sensuality of the completely monic figure symbolizing sin. The archangel da Caravaggio naked and yet holy youth had no precedent (1571–1610) triumphs over profane love, which – now in art. John takes up eye contact with the

separated from evil – is no longer able to re- ST JOHN THE viewer. The relationship that is intimated sist the power of heaven. BAPTIST between artist and model is now transferred c. 1602, canvas to us as viewers. With his right arm he em- Rome, Musei Capitolini, Pinacoteca Capitolina braces the ram, which should by rights be a 11 411 This statue of St Sebastian is regarded as lamb. Besides rendering purely sensory ex- the first entirely independent piece made by perience and emotion, Caravaggio also de- Gian Lorenzo Bernini the nineteen-year-old Gian Lorenzo Bernini, ploys several levels of meaning: the ram may (1598–1680) who around 1617 was still working in his refer to the sacrifice of Isaac and thus to father’s studio. Like Michelangelo, the artist Christ’s Passion, while the son of the man ST SEBASTIAN 1617, marble on whom he modelled himself, he made his who commissioned the painting was born Private collection, breakthrough with the rendering of soft, vul- under the sign of Aries and was baptized on loan to the Museo nerable skin shaped from hard, lifeless stone. with the name of the saint. Nacional Thyssen- Bornemisza, Madrid The saint’s body is pierced by arrows and en- feebled. His head turned upwards to heaven, in the expectation of imminent death, Sebas- tian surrenders himself to his God in loving renunciation. The perfect rendering of the body, weakened almost to the point of death

GALLERY 2 – AMORE GALLERY 2 – AMORE 13 416 St Francis embodies the ideal of a perfect Thirty years before, Bernini had deployed simi- Christian life modelled on Christ. In his re- lar pathos in the rendering of his St Sebastian Michelangelo Merisi living of the Passion and the receiving of the (no. 11). Both saints are in a completely separ- da Caravaggio stigmata, which make him like Christ not ate world. In the case of Teresa, however, he (1571–1610) just internally but also externally, the saint deployed a new stylistic device, using the seem- ST FRANCIS in ecstasy symbolizes a fundamental trans- ingly wild agitation of the folds of her robes to IN ECSTASY formation. The angel supporting him recalls mirror her intense emotions. c. 1595/96, canvas Hartford, CT, the motif of the Pietà, where Mary lovingly Wadsworth Atheneum holds her son in her lap after he has been Museum of Art taken down from the Cross. 15 418 Signed and dated, this painting by Finson is one of the most important early copies of a Rarely depicted in Caravaggio’s oeuvre, the Louis Finson famous but today lost Magdalen that Cara- landscape is severely reduced so that the (1585–1617), vaggio is said to have painted in his final after Caravaggio figures in the foreground completely domi- years. Mary Magdalen has thrown back her nate the overall mood of the painting, which MARY MAGDALEN head, overwhelmed by her feelings of peni- unites mystical surrender with a fervent IN ECSTASY tence. Caravaggio’s emphatically emotional 1613, canvas overwhelming of the senses that is character- Private collection interpretation, which Finson knew well and istic of extreme spiritual rapture. of which he made several copies, influenced a large number of painters and sculptors, in- cluding Bernini. 14 417 Despite its small-scale format, the presentation model of one of Bernini’s most famous works Gian Lorenzo Bernini in the church Santa Maria della Vittoria renders (1598–1680) the saint’s absolute ecstasy in her mystic union with God. An angel pierced her heart with an THE ECSTASY OF ST TERESA OF ÁVILA arrow which filled her with a blazing, exquisite- (1515–1582) ly painful love for God. Bernini represents Tere- 1647, terracotta St Petersburg, The State sa floating on a cloud, overwhelmed by her joy, her eyes and mouth half open, while the angel beside her makes to pierce her anew.

GALLERY 2 – AMORE GALLERY 2 – AMORE 16 419 Mary Magdalen is customarily represented 17 412 Eros and Anteros, sons of Aphrodite, are two as a sinner and penitent, desperate in her loving brothers who are tussling to decide contrition, absorbed in painful prayer and Alessandro Algardi which of them loves the other more. In Neo- (1593–c. 1654) usually accompanied by a skull, representing (1598–1654) platonic terms, however, the subject is the the triumph over sin. In Gentileschi’s unique moral contest between profane, erotic love MARY MAGDALEN EROS AND ANTEROS IN ECSTASY rendering, however, she is a heroine, marked 1630, marble (Eros) and amor virtutis, the virtuous love c. 1620/25, canvas by the enjoyment of the deep, personal grati- Vaduz – Vienna, of the true and the divine (Anteros). Push- Private collection LIECHTENSTEIN. fication that her newfound faith has given The Princely Collections ing himself up off the quiver lying on the her. There are no tears or signs of emotion- ground, with his left arm Eros endeavours to al pain to be seen here. Her linked hands ward off Anteros, who has, however, already express neither prayer nor earthly renuncia- successfully disarmed his brother and pulled tion but are merely clasped round her knees. the blindfold from his head that had been Only her sensuous body can be understood depriving him of the sight of true love. as a reference to her errant past that has now been overcome. Her smile reveals the peace that she has found on her new path 18 413 The parable tells of the repentance of a sin- as a follower of Jesus. This Mary Magdalen ner and the loving mercy of God. A young is not directing her inner gaze at an invisible Giovanni Francesco man squanders the inheritance he has been heavenly power but responding to her own Barbieri, given in advance. Destitute, he returns home called Guercino emotions. She is bathed in the light of (1591–1666) and is taken in by his father with love and spiritual illumination. Artemisia Gentileschi forgiveness. Divesting himself of his clothes shows her poised at the moment of her trans- THE PARABLE OF betokens the beginning of a new life thus THE PRODIGAL SON ition from sinner to saint. 1619, canvas granted to the penitent. In the concentration Vienna, Kunsthisto- on the interplay between the hands Guerci- risches Museum, no has found a powerful solution for render- Picture Gallery ing the subject.

GALLERY 2 – AMORE GALLERY 2 – AMORE 19 412 Profane love (Eros) is tied to a tree trunk, sym- 21 415 The painting illustrates an episode from bolizing the human soul that is chained to the the epic poem Gerusalemme Liberata by Guido Reni material body. Reni elegantly composes his Nicolas Poussin Torquato Tasso (1581), set at the time of the (1575–1642) allegorical depiction of the struggle between (1594–1665) First Crusade. The Saracen sorceress Armida

SACRED AND virtue and vice, and the subduing of the latter, RINALDO AND put the crusader Rinaldo into a deep sleep PROFANE LOVE showing the moment when sacred love (An- ARMIDA in order to kill him, but at the sight of his 1622/23, canvas teros) carefully burns the arrows of the still c. 1628, canvas handsome form fell in love with him instead. Genoa, Galleria London, Dulwich Nazionale della Liguria blindfolded Eros on a fire. Baglione’s inter- Picture Gallery a Palazzo Spinola pretation (no. 10) takes the same approach to Poussin concentrated on the moment in interpreting the theme. which her change of heart takes place, creat- ing a tension-filled juncture of indecision. Her billowing robes indicate the vehemence 20 414 Daedalus is fastening wings to the shoulders with which she is about to do the deed. A cu- of his son Icarus. Ignoring his father’s advice pid clutches at her arm, touchingly hindering not to fly too high, Icarus will later fall to the impetus of her gesture. The god of love (1599–1661) his death. Sacchi depicts the relatively rarely is invisible to her, symbolizing as he does the

DAEDALUS illustrated scene from the Greek myth by fo- power of nascent love. Although it seems at AND ICARUS cusing on the intense psychological tension first as if Armida is reaching for the head of c. 1645, canvas between the loving, anxious father and his her victim, closer inspection reveals that this Genoa, Musei di Strada Nuova, Gallerie di reckless son. The father’s tender concern is is undergoing a transformation into a gesture Palazzo Rosso indicated by a slight shimmer on his profile – of love: Armida’s left hand touches Rinaldo’s his cheeks seem to be wet with tears. right hand, nestling against it tenderly.

GALLERY 2 – AMORE GALLERY 2 – AMORE Gallery 3 Moto & Azione (22–32) Vivacità (33–42)

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GALLERY 3 GALLERY 3 22 420 A moment of high drama: Abraham is about 24 421 Among the numerous depictions of St Se- to sacrifice his son Isaac as God has de- bastian this is undoubtedly one of the most manded of him. Isaac cowers on the ground, gruesome: Carracci here chooses a very rare- (1563–1639) resigned to his fate. At the very moment that (1555–1619) ly illustrated moment, when the soldiers cast Abraham is about to put his knife to the boy’s his lifeless body into the Cloaca Maxima, the THE SACRIFICE ST SEBASTIAN OF ISAAC throat, an angel stays his arm: Abraham has THROWN INTO THE main sewer running beneath Rome. c. 1612, canvas done enough to prove his fear of God. CLOACA MAXIMA Genoa, Galleria 1612, canvas Nazionale della Liguria Los Angeles, The J. Paul The subject was chosen at the behest of a Palazzo Spinola With his left hand the angel points upwards, Getty Museum Maffeo Barberini, who commissioned the that is, towards God. The two protagonists painting; his family chapel in the church of gaze intently into each other’s eyes – but does Sant’Andrea della Valle stood directly above Abraham understand what is happening? the spot where the Christian Lucina recover- ed the saint’s corpse from the sewer.

23 A moment of unbearable tension is depicted here: Cecilia kneels acquiescently while her 25 422 Poussin’s painting shows the conquest of Je- Carlo Saraceni executioner strides in from the right to in- rusalem by the Romans in CE 70. The struggle (1579–1620) flict the fatal blow. She has fixed her gaze on Nicolas Poussin for the Temple precinct, in which the Jews an angel descending on a cloud, who points (1594–1665) had held out for a long time, was particularly THE MARTYRDOM with his right hand to the celestial reward for bloody and was pursued against the wishes OF ST CECILIA THE DESTRUCTION c. 1610, canvas her imminent suffering. OF THE TEMPLE IN of the Roman general Titus. Here he has ar- Los Angeles, JERUSALEM BY TITUS Los Angeles County rived on a white horse at the scene of action, 1635, canvas Museum of Art When she was married off to a non-Chris- Vienna, Kunsthisto- presumably to prevent the destruction of the tian Roman youth, Cecilia ignored the wed- risches Museum, Temple. The action around him seems fro- ding music and sang to God in her heart, in Picture Gallery zen, the general himself gazing upwards, as consequence of which she later became the if in presentiment of destiny. much-venerated patron saint of sacred music.

GALLERY 3 – MOTO & AZIONE GALLERY 3 – MOTO & AZIONE 26 423 On his flight westwards, the great Trojan hero 28 The first homicide: a horrific primal scene in Aeneas encounters his divine mother, at first the history of humanity. Manfredi brings the Pietro Berrettini, failing to recognize her. Venus had appeared gruesome action so far to the fore that we called to him in the shape of a huntress into order to (1582–1622) feel almost as cornered as Abel, here being (1597–1669) show him the way to the palace of Dido, queen slain by his older brother Cain. CAIN SLAYING ABEL VENUS AS HUNTRESS of Carthage. c. 1615, canvas APPEARS TO AENEAS Vienna, Kunsthisto- The artist deploys his extensive knowledge c. 1630/35, canvas risches Museum, Paris, Musée du Pietro da Cortona translates the inner feelings Picture Gallery of anatomy to dramatize the athleticism of of the figures into a subtle play of gestures and the perpetrator and the defensive gestures of poses to depict the complex emotional situa- his victim. The strong plasticity of the bodies tion of the moment: surprise, recognition, and also indicates that the artist based them on the as yet not fully successful coming together sculptural prototypes. Against this, the theo- of mother and son. logical aspects of the story rather retreat into the background. 27 424 Bernini created this terracotta model in preparation for his famous marble statue of Gian Lorenzo Bernini David (Rome, Borghese). Despite ex- 29 425 Bernini made this terracotta model in prepar- (1598–1680) tensive damage, the model still demonstrates ation for the statue on the the wholly innovative element in Bernini’s on Piazza Navona in Rome. DAVID Gian Lorenzo Bernini 1623, terracotta invention, which fundamentally differenti- (1598–1680) St Petersburg, The State ates this David from those of his great pre- The sea god Triton stands as an athletic nude Hermitage Museum TRITON decessors (Donatello, Michelangelo), namely 1653, terracotta in a highly dynamic pose, his legs apart, on the dynamization of the figure in a way that Private collection a huge shell. He has seized a dolphin that had never before been seen in sculpture. The peeps out between his knees and in the foun- whole body is tensed, poised with the pent-up tain functions as a waterspout. The torsion of energy that is about to be unleashed on his the triton’s body and his wildly animated hair opponent Goliath. suggest that the group is riding over the sea, driven by the wind.

GALLERY 3 – MOTO & AZIONE GALLERY 3 – MOTO & AZIONE 30 This model of an elephant was made in con- expresses the saint’s inner agitation through nection with plans to erect an obelisk in the outward movement. Mochi dramatizes her Gian Lorenzo Bernini forecourt of the Palazzo Barberini in 1632. The as the herald of Christ’s sufferings and immi- (1598–1680) design was not realized at the time, but was nent crucifixion. used for another obelisk in front of the church ELEPHANT AND OBELISK of Santa Maria sopra Minerva in 1665/67. c. 1632 or c. 1658, 426 In 1612 the city of commissioned terracotta 32 Bernini’s originality lies in the idea of using the Mochi to make two equestrian statues, one Florence, private collection representation of a living creature for a rigid Francesco Mochi of the ruling duke of and Piacenza, architectural element, in this case the base of (1580–1654) Ranuccio Farnese, and another of his father the obelisk. The artist thus unites three aspects Alessandro. HORSE AT AN in his work: liveliness, motion and wit. EXTENDED TROT 1616/17, bronze with Mochi prepared thoroughly for this prestig- dark brown patina; ious commission, also making this unusual- later base 31 426 Mochi’s most famous work is probably his (19th century?) ly large bronze model of Ranuccio’s horse. huge marble statue of St Veronica in St Pe- Rome, Principessa He depicts the animal in an extended trot, Maria Camilla Francesco Mochi ter’s, for which this bronze figure was a pre- with only two hooves touching the ground; Pallavicini (1580–1654) liminary study. this and the flowing mane, swishing tail and snorting nostrils give the work a great sense ST VERONICA 1630/31, Mochi’s Veronica broke decidedly with the of movement, liveliness and power – a power bronze with pigmented traditional representation of this saint, usu- that the rider knows how to control, as a transparent ally portrayed sunk in contemplation and good ruler controls his state. lacquer patina England, silent veneration of Christ’s countenance, private collection which had impressed itself on her veil. In Mochi here surpassed all monuments of this Mochi’s work it is not her veil but a corner kind that had hitherto been made, and his of her robe that serves as the sweat-cloth or works are rightly regarded as the first eques- sudarium, which she now holds up in hor- trian statues of the Baroque era. ror. In the impetus of her forward move- ment the folds of her robe swirl around her like a whirlwind, a masterly invention that

GALLERY 3 – MOTO & AZIONE GALLERY 3 – MOTO & AZIONE 33 427 Forced to flee Rome in 1606 having killed a 35 430 Bernini based his bust of the French prime man in a sword fight, Caravaggio arrived in minister on a portrait painted by Philippe de Michelangelo Merisi Malta in the summer of the following year, Gian Lorenzo Bernini Champaigne that had been sent to Rome for da Caravaggio probably under the protection of one of his (1598–1680) this express purpose. However, by turning (1571–1610) aristocratic patrons. There can be little doubt Richelieu’s head slightly in an opposite direc- CARDINAL ARMAND- FRA ANTONIO that Caravaggio’s fame and his abilities as a JEAN DU PLESSIS tion to the movement of the torso he created MARTELLI painter recommended him to the brother- (1585–1642), an interesting tension in the bust. Bernini

(1534–1618) hood of the Knights Hospitaller. The like- DUC DE RICHELIEU gives Richelieu a thoughtful demeanour, ap- 1607/08, canvas 1640/41, marble Florence, ness of the aristocrat Antonio Martelli was Paris, Musée du Louvre propriate to this wily statesman who served Gallerie degli Uffizi almost certainly painted during this time and King Louis XIII. The projected air of authority is by far the most sensitive and subtly char- is disrupted by a single, subtle ‘imperfection’, acterized of Caravaggio’s surviving portraits. which in turn lends the portrait a feeling of spontaneity: the not-quite-fastened button at the bottom of the mozzetta. 34 Leaning forward with a concentrated expression on his face and with his arms Angelo Caroselli curiously crossed, the man is beating time 36 429 Vouet, who studied the work of Caravag- (1585–1652) with his left hand to the music on the sheet gio during his sojourn in Rome, gave this in front of him. Although his mouth is self-portrait a captivating vivacità (liveli- ‘SINGING’ MAN (1590–1649) c. 1615/25, fir, extended closed and his gaze goes past the viewers, ness), as if he were just about to join in a with sections of pine he seems to be addressing them directly or conversation. It is also notable for its mas- SELF-PORTRAIT Vienna, Kunsthisto- even instructing them to join in the singing. 1626/27, canvas terly handling of the paint. Vouet built up risches Museum, Lyon, Musée des Picture Gallery Caroselli signed the painting in the legend of the picture with a restricted palette of tones Beaux-Arts the gold coin on the musician’s cap, which into which he integrated the brown under- also names the individual who commissioned painting. Deliberately placed highlights on the work, the banker Ferdinando Brandani. the brow and curls of the hair make his head stand out vividly.

GALLERY 3 – VIVACITÀ GALLERY 3 – VIVACITÀ 37 428 Although it seems to be smaller than a true- 39 430 After an extended Grand Tour taking in to-life bust, this compelling portrait really is France, Spain and the Low Countries the François du Quesnoy life-size. It shows a man of small stature who Gian Lorenzo Bernini English courtier Thomas Baker lodged in (1597–1643) belonged to the retinue of the duc de Créquy, (1598–1680) Rome from 1636. In his luggage he had a por- the French ambassador to the Holy See. trait of Charles I by Anthony van Dyck that THE DUC DE THOMAS BAKER CRÉQUY’S DWARF (1606–1657/58) was intended to serve the sculptor Bernini as c. 1633/34, marble Du Quesnoy created a thoroughly lively por- 1637/38, marble a model for a bust of the monarch. This con- Rome, Gallerie London, Victoria and trait, carefully modelling his fleshy features tact gave Baker, a style-conscious dandy, the Nazionali d’Arte Antica, Albert Museum Palazzo Barberini with wrinkles, sagging cheeks and slight double opportunity of having himself immortalized chin together with his well-groomed goatee by the master. Bernini here plays with con- beard and moustache. trapposti (antitheses, ‘counter-placements’), which are used as an artistic device to arouse the viewer’s attention. For example, Baker’s 38 431 Here the prelate Giovanni Battista Agucchi finely executed collar of Venetian lace con- has been interrupted in his reading of a letter trasts with his luxuriant hair that frames his Domenico Zampieri, and has just looked up. The artist, probably face in tumbling waves. called his friend Domenichino, increases the ten- (1581–1641), attributed sion in the painting solely by means of the

GIOVANNI BATTISTA striking expression on the sitter’s face with AGUCCHI (1570–1632) his wide-open eyes and captivated gaze. The c. 1604 or c. 1615, canvas small-scale format and reduced field of view York, York Art Gallery bring Agucchi up close, allowing the viewer of the likeness to become the beholder of a real individual, as if one were sitting right in front of him.

GALLERY 3 – VIVACITÀ GALLERY 3 – VIVACITÀ 40 Bernini’s likeness of himself was acquired for 42 433 Caravaggio portrayed the young Maffeo Bar- Cardinal Leopoldo de’ Medici’s renowned berini, later Pope Urban VIII, in the robes of Gian Lorenzo Bernini collection of self-portraits in 1674. Apart from Michelangelo Merisi a pronotario apostolico. Maffeo seems to be (1598–1680) its masterly execution, its appeal rests above da Caravaggio still absorbed by what he has been reading, (1571–1610) all on the fact that it was painted by Bernini which to judge by his known tastes as well SELF-PORTRAIT c. 1638/40, canvas when he was around 35 years of age and al- MAFFEO BARBERINI as the vase holding pinks, roses and jasmine Florence, ready famous as a sculptor and architect. In (1568–1644) on the table, is perhaps a volume of love Gallerie degli Uffizi 1596/97, canvas his biography of Bernini, written shortly after poetry. The portrait was executed at a time Florence, the artist’s death, Filippo Baldinucci singled private collection when Caravaggio’s style began to display a out this likeness among around 150 paintings more psychologically engaging manner. In by the master as ‘a most beautiful and live- evidence here, too, are the deeper colour- ly portrait of his own person’. The brooding ation and darker passages that would come gaze, exploitation of light and shadow and to typify the artist’s style. The sitter’s impos- free, insouciant use of paint lend Bernini an ing physical presence and the highly sensi- intensity of intellectual presence, imbuing his tive psychological rendering make this a self-portrait with liveliness. seminal work of Baroque portraiture.

41 432 Behind this bust of Scipione Borghese lay a contest between the sculptor Giuliano Finelli Giuliano Finelli with his erstwhile master Gian Lorenzo (1601–1653) Bernini, a contest that may well have been ar- ranged by the art-loving sitter himself, since he CARDINAL SCIPIONE BORGHESE commissioned a bust from Bernini at the same (1577–1633) time. Finelli’s portrait is notable for an incom- 1632, marble parable finesse in the rendering of material New York, The Metropolitan qualities, using as it were painterly means to Museum of Art bring the hard stone to life.

GALLERY 3 – VIVACITÀ GALLERY 3 – VIVACITÀ Gallery 4 Passione & Compassione (43–47) Visione (48–52)

48 43 44 50 15 47

49 45 46 52 51

GALLERY 4 GALLERY 4 43 434 This painting by is not a 44 435 Although Carracci was a contemporary of Pietà in the ordinary sense, since it includes Caravaggio’s in Rome, he belonged to the Annibale Carracci other figures beside the Virgin Mary and the Annibale Carracci classicist movement and was thus Caravag- (1560–1609) dead Christ. Dressed in red and yellow, Mary (1560–1609) gio’s most important counterpart on the art Magdalen kneels on the ground, her arms scene. As this Pietà also shows, he combined THE DEAD CHRIST PIETÀ MOURNED (‘THE thrown up as if surrendering to her sorrow. c. 1603, copper the colour of the Venetian painters with a THREE MARIES’) Above her stands a woman of more advanced Vienna, Kunsthisto- thorough knowledge of classical sculpture. c. 1604, canvas risches Museum, years (possibly Mary the wife of Clopas, London, Picture Gallery The National Gallery mother of James the Younger), who holds Mary has sunk back, broken with grief, out her arms in distress to a third woman, the head of her lifeless son bedded on her Mary Salome. The latter is supporting the lap. The coloration that brings together his Virgin Mary, who has collapsed in pain and corpse and her robes unites the living mother grief. In her deep swoon, Mary echoes the and dead son, as does the nerveless expres- pose and facial expression of her dead son. sion of their faces. The predominant blue The deathly pallor of his skin and grey-blue tones are continued in the mountains of the lips indicate the onset of rigor mortis. landscape beyond.

Carracci gives each of the women a personal The expanse of monochrome grey separates reaction to the death of Christ and the Virgin the instruments of the Passion – crown of Mary’s swoon. In their individual responses thorns and nails – from the Pietà. They refer of grief, the women offer varying paths for to Christ’s sacrificial death, while the radiant the viewer to react in a similar way and feel yellow of the angel’s raiment heralds the Res- compassion with Christ and his mother. urrection that is soon to come. The mourn- ing angels endeavouring to comfort Mary are a subtle invitation to the viewer to feel com- passion with the grieving mother.

GALLERY 4 – PASSIONE & COMPASSIONE GALLERY 4 – PASSIONE & COMPASSIONE 45 437 The arms of the risen Christ are spread wide, 47 438 The evangelists relate that before his cruci- mirroring his pose on the cross. Unusually, fixion, a crown of thorns was placed on the he here faces the viewer, gazing directly out Michelangelo Merisi head of Jesus as ‘King of the Jews’. A reed (1613–1699) of the picture and inviting us to contemplate da Caravaggio was placed in his hand as a sceptre and a (1571–1610) the miracle of the Resurrection. In his in- scarlet robe around his shoulders as further THE INCREDULITY OF THOMAS credulity, Thomas is only able to do this by THE CROWNING mocking symbols of ‘royalty’. In Caravaggio’s c. 1656/60, canvas touching the wound in Christ’s side. The dis- WITH THORNS painting, the canes that Pilate’s henchmen Vienna, Kunsthisto- c. 1603, canvas ciples show different reactions to the Lord’s are using to torment Christ are of the same risches Museum, Vienna, Kunsthisto- Picture Gallery appearance: astonishment, understanding, risches Museum, material as his sceptre. Forming a V and an hands folded in prayer – reactions that the Picture Gallery I, they may refer to the man who commis- painting also seeks to evoke in the viewer. sioned the painting, Vincenzo Giustiniani (Iustinianus being the Latinized form of his family name). The work hung above a door 46 436 Spadarino takes a radical approach, omit- in his palazzo in Rome. ting all disciples – even ‘doubting’ Thomas Giovanni Antonio Galli, – from the composition and focusing wholly Although Christ is surrounded he seems called Spadarino on Christ. The Redeemer himself touches his completely withdrawn into himself, submit- (1585–1652) wound, splaying the skin and revealing the ting to his destiny. The man leaning on the

CHRIST DISPLAYING flesh beneath. Against the brightly illumined parapet wearing late sixteenth-century dress HIS WOUNDS skin, the dark red seems even more intense. expresses compassione through his position c. 1625/35, canvas Christ looks expectantly out of the picture, in the painting, his pose echoing that of Perth, Perth Museum and Art Gallery & putting viewers in the role of Thomas. How- Christ – slightly bent over, the head inclined Kinross Council ever, here they cannot touch but must find – and his hand almost touching the hand of their faith solely through seeing. the Son of God.

GALLERY 4 – PASSIONE & COMPASSIONE GALLERY 4 – PASSIONE & COMPASSIONE 48 Guercino created this painting for the high 49 441 St Dominic looks up at the enthroned Ma- altar of a church in Rome that was dedicated donna, who instructs him to distribute ros- Giovanni Francesco to St Mary Magdalen. Tradition ascribed her Michelangelo Merisi aries to the people thronging towards him. Barbieri, a sinful past before she became a follower da Caravaggio At the left-hand edge of the painting the called Guercino (1571–1610) of Jesus. She was thus the patron saint of anonymous individual who commissioned (1591–1666) penitent women and those who had been se- MADONNA OF THE the painting is about to seek refuge under the MARY MAGDALEN duced, and was often depicted unclothed as ROSARY saint’s cloak. With his direct gaze, he seems c. 1601/03, canvas WITH TWO ANGELS a young woman of beguiling charms. to be inviting us to follow him. Opposite 1622, canvas Vienna, Kunsthisto- Città del Vaticano, risches Museum, Dominic stands St Peter Martyr (St Peter of Musei Vaticani Guercino shows Mary Magdalen in a land- Picture Gallery Verona), pointing to the Madonna and child scape at the break of day, kneeling beside while at the same time turning to the viewer. Christ’s empty tomb, where instead of his Two other Dominicans are positioned in the body she finds two angels. With hands fold- middle plane of the picture that contains ed in prayer, she is absorbed in the miracle the saints and intercessors. The direction of of the Resurrection, of which she was shortly the gazes emphasize the role of the saints to be the first witness. The crown of thorns as mediators in the plan of salvation: While and the nails from the cross recall Christ’s Dominic gazes at the Madonna and child, earthly suffering. However, one of the angels they are not visible to the people below, who points to heaven, the place to which she will seem to have eyes only for the rosaries and later be transported and from where two an- with zealous fervour petition to be allowed gels’ heads look down upon the scene. to take part in prayer. People in front of the painting, although assigned to the common folk through their viewpoint as spectators, can partake of the vision as a whole and be gazed upon directly by Jesus.

GALLERY 4 – VISIONE GALLERY 4 – VISIONE 50 439 Here, the reading of the Gospel and meditat- 51 440 Francis is contemplating a skull, symbol of ing upon the crucified Christ have led to deep earthly transience. His mouth is open, as if Michelangelo Merisi contemplation of sin, death and redemption. he is about to exclaim in shock, his hand da Caravaggio By taking the Word of God to heart, St Fran- (c. 1594/95–1624) touching his breast in a state of great emo- (1571–1610) cis arrives at a visionary revelation. tion. The saint seems to have been over- ST FRANCIS IN ST FRANCIS IN MEDITATION whelmed by an intense mystical experience, MEDITATION The light throws the deeply furrowed face of c. 1618, canvas the fleetingness of which is reflected in his c. 1605/06, canvas Vienna, Kunsthisto- the meditating saint into dramatic focus. The pose and face. Cremona, Museo Civico risches Museum, Ala Ponzone, expression on his face is tensely contrasted Picture Gallery Pinacoteca with the skull in front of him (cf. no. 51). The For most of his career the Dutch artist Dirck saint himself leans forward from the dark van Baburen worked in Rome, where he was thickets that surround him into the revela- influenced by Caravaggio’s art. tory light with which Caravaggio emphasiz- es the direct effect of the Gospel message. Although the saint crouches there immobile, 52 440 St Francis is a model for all believers who his inner tension is expressed in the folds of strive to relive the Passion of Christ in their his garment, simultaneously giving the figure Giovanni Baglione hearts through prayer and penance (cf. nos. a dynamic animation. (c. 1566–1643) 50, 51). Francis is reading the Scriptures when he is surprised by a vision. An angel ST FRANCIS IN ECSTASY appears to him, displaying the instruments c. 1602/03, canvas of Christ’s Passion. Francis sinks back in ec- Los Angeles, stasy and is supported by a second angel. His Los Angeles County Museum of Art eyes turned ecstatically towards heaven, the saint sees nothing, being entirely taken up with the experience of his vision.

GALLERY 4 – VISIONE GALLERY 4 – VISIONE Gallery 5 Scherzo (53–62) Epilogue (63–65)

Exit Shop

54 61 62

56 65 64 63

60 59 58 57 55 55 53

(Centre of the room)

GALLERY 5 GALLERY 5 53 447 Bernini is known to have designed orna- 55 443 The face, build and rendering of the hair of mental figures for a carriage given to Queen these two chubby little boys display such a Gian Lorenzo Bernini Christina of Sweden by Pope Alexander VII François du Quesnoy strong resemblance to secured figures of chil- (1598–1680) in 1655. (1597–1643), dren by Du Quesnoy that it seems reason- model, attributed able to attribute them to the master. FOUR GROTESQUE HEADS OF MEN However, these four extremely expressive TWO PUTTI ON 1650–55, gilt bronze heads once graced Bernini’s own carriage. EAGLES The motif of riding astride an eagle probably Rome, private collection c. 1626/30, bronze They were all cast from the same mould and plays on the abduction of Ganymede by Ju- London, must have crowned the corner posts of the Daniel Katz Gallery piter, albeit in humorous inversion: here the artist’s vehicle. Verging on caricature, they children hold in check the symbolic animal provide a humorous commentary on the tra- of the deity, who is alluded to in the thunder- vails of everyday life, which Romans would bolts clutched in the birds’ talons. have understood only too well at the sight of the artist’s conveyance endeavouring to make its way through the city’s congested streets. 56 443 A whole horde of little satyrs and putti as- sails the elderly drunken Silenus and his François du Quesnoy donkey. Du Quesnoy here draws on a poem (1597–1643), model 54 442 This highly idiosyncratic painting clearly be- by Virgil which relates how the beauteous trays Caravaggio’s influence. With extreme nymph Aegle painted Silenus’ face red with SLEEPING SILENUS Trophîme Bigot light effects and the violent emotional reac- WITH PUTTI mulberries while his diminutive tormentors (1579–1650) tion of the main figure, Bigot relates a comic c. 1636 (model), trussed him up using vines. before 1665 (execution), story. In the darkness of the background a se- SCREAMING MAN gilt bronze, lapis lazuli c. 1615/20, canvas cond figure is amusing himself at the protag- Antwerp, Rubens House Silenus, tutor to , the god of wine, Vienna, Kunsthisto- onist’s expense, making us his accomplices. promises to sing a song about the creation risches Museum, He was presumably the one who has delib- of the world in exchange for his release. This Picture Gallery erately placed the hollowed-out pumpkin sculptural scherzo thus combines wisdom, containing a candle, giving the man at the intoxication and playfulness in a witty conceit. centre such a fright that he overreacts and takes flight, screaming.

GALLERY 5 – SCHERZO GALLERY 5 – SCHERZO 57 444 This little boy sitting casually on a sea-dragon 59 444 Dolphins had been considered since antiqui- is the work of Pietro and Gian Lorenzo ty as creatures that were especially well- Pietro Bernini Bernini. The extent of the collaboration be- Gian Lorenzo Bernini disposed towards children. Bernini’s work is (1562–1629) tween the two artists – an ongoing discussion (1598–1680) thus a surprise – and a very unpleasant one and that started back in the seventeenth century – at that for the little boy riding on the dolphin Gian Lorenzo Bernini A PUTTO BITTEN (1598–1680) has still not been satisfactorily resolved. BY A DOLPHIN who has just been viciously bitten on the leg. c. 1618, marble The child arches back in pain and seems to Berlin, Staatliche BOY WITH A DRAGON It is, however, quite clear that this group be- be uttering a scream while vainly attempting c. 1616/17, marble Museen zu Berlin, Los Angeles, The J. Paul longs to the genre of the scherzo: the wit lies in Skulpturensammlung to pull the creature’s head back. Getty Museum the effortlessness with which the little putto und Museum für Byzantinische Kunst snaps the jaw of the sea monster. This is a The sculptor used a stone drill in order to humorous variation on the many bemuscled make the openings of mouth and eyes par- heroes who have since antiquity traditionally ticularly expressive. Bernini’s interest here is done battle with wild beasts and creatures wholly focused on the rendering of this mo- of fable. ment of pain.

58 Voracious goats representing a danger for 60 445 This astonishing work dates from two epochs: tender vine shoots is a conceit that can be the fragment of a classical statuette from the François du Quesnoy found frequently in the poetry of classical Alessandro Algardi first century CE, brilliantly completed by (1597–1643) antiquity. Goats were consequently also sac- (1598–1654), restoration Alessandro Algardi in 1628. The rump of the rificial animals in the cult of the wine god small satyr – identified by his telltale curly BACCHANAL YOUNG SATYR WITH OF EIGHT PUTTI Bacchus. THEATRICAL MASK tail, was excavated in the grounds of the Villa WITH A GOAT OF SILENUS Ludovisi in Rome. Algardi added the legs, the c. 1626/30, marble 1628, marble Du Quesnoy takes up this subject in playful left arm and the fingers of the hand reaching Amsterdam, Chicago, Rijksmuseum manner but above all with a stunning mas- private collection out from the mouth of the mask. The little tery of the sculptural medium. This work satyr has put on a huge mask of old Silenus, became very well-known during the artist’s probably to frighten a now lost companion. lifetime through its dissemination in numer- ous copies.

GALLERY 5 – SCHERZO GALLERY 5 – SCHERZO 61 446 The frieze-like composition of this Baccha- 62 This highly original figure was cre- nalian Revel unfolds before our eyes, from ated by Pietro Bernini for the country villa of Nicolas Poussin the nymph on the left squeezing grapes into Pietro Bernini the Corsi family outside Florence. (1594–1665) the cup held by an expectant putto to the (1562–1629) clumsy advances of the satyr on the right. A wild satyr reaches up to a vine, grasping A BACCHANALIAN SATYR AND PANTHER REVEL BEFORE c. 1595/1597, marble the ripe grapes hanging above him in order A TERM Yet for all the wildness of its subject matter, Berlin, Staatliche to squeeze their juice and slake his thirst. 1632/33, canvas Museen zu Berlin, with frenetic dancing and copious wine, its The panther sitting between his legs holds up London, Skulpturensammlung The National Gallery composition is rigorously elaborated. The und Museum für its head with its maw agape in expectation. toes of the nymph squeezing the grapes, for Byzantinische Kunst Composed in skilful upward-twisting move- example, intersect precisely with the sleep- ments, the group stands in a shell-shaped ing putto’s buttock, and the raised foot of bowl that was placed at the centre of the the faun in yellow aligns exactly with the fountain’s basin. foot of the nymph. The disposition of the figures along a horizontal plane recalls clas- The water streaming down from the grapes sical friezes and bas-reliefs that Poussin had over the figures must have animated this al- seen and studied together with his friend the ready highly dynamic composition, creating sculptor Franҫois du Quesnoy in Rome in an eloquent ode to the fertility of the country the . estate. Gian Lorenzo Bernini must have learnt much from this masterpiece by his father.

GALLERY 5 – SCHERZO GALLERY 5 – SCHERZO 63 449 Here Preti draws on major works by Cara- 65 448 In 1620 Hendrick ter Brugghen returned to vaggio: the figure in armour seen in rear Utrecht from his sojourn in Rome. In Italy Mattia Preti view, for example, is borrowed from the lat- Hendrick ter Brugghen he had encountered the artistic innovations (1613–1699) ter’s Crowning with Thorns (no. 47), while (1588–1629) of Caravaggio and his followers. His painting in the woman and young boy he uses figures shows a young woman tuning her lute, one THE CALLING YOUNG WOMAN OF MATTHEW that are typical of the (profane) scenes of TUNING A LUTE shoulder bared. The almost tender turning c. 1635, canvas daily life from the circle of Caravaggio (no. c. 1627, canvas of the pegs seems staged with deliberate ten- Vienna, Kunsthisto- Vienna, Kunsthisto- 64). The way the figures are grouped – on sion: the woman – probably a courtesan – is risches Museum, risches Museum, Picture Gallery the left are Jesus and an apostle, on the right Picture Gallery finding the right tone, not only for the music the woman and boy – reflects Matthew’s de- but also for her viewers. cision to henceforth follow Christ and aban- don his previous existence as a tax collector.

64 450 Caravaggio devoted several paintings to the subject of a fortune-teller reading a soldier’s Valentin de Boulogne hand. His works were developed further (1591–1632) in numerous variants by followers such as Valentin de Boulogne. THE FIVE SENSES OR CHEERFUL COMPANY WITH With its myriad figures, the latter’sCheer - FORTUNE-TELLER ful Company is his most complex work. The 1631, canvas Vaduz – Vienna, crowded composition makes an additive im- LIECHTENSTEIN. pression, including scenes of fighting and thiev- The Princely Collections ing besides fortune-telling and music. Valentin combines various figures and scenes familiar from his oeuvre into a meditation on life – a life that offers pleasures and amorous adventures but which equally consists of unpredictability, conflict and fleeting moments of reflection.

GALLERY 5 – EPILOGUE GALLERY 5 – EPILOGUE TALKS Prof. Helen Langdon (London) Talk of Prof. Estelle Lingo Caravaggio’s Cupid. (University of Seattle, Washington) Homage and Rivalry The Baroque and the : FREE ENTRY 21 October 2019, 7 p.m., Kuppelhalle Finding the Gap and presentation of the Bellori Edition PLEASE RSVP AT Prof. Ute Frevert Project of the Bibliotheca Hertziana – [email protected] (Max-Planck-Institut für Max-Planck Institut für Kunstgeschichte, UNLESS OTHERWISE Emotionsforschung, Berlin) printed by Wallstein publishing house: SPECIFIED Passionen Caravaggio, du Quesnoy, in seiner und in unserer Zeit Algardi, Fontana und die Idea 11 November 2019, 7 p.m., Kuppelhalle 19 January 2020, 7 p.m., Kuppelhalle

Prof. Daniela Brogi (Università per Stranieri di Siena) IN COOPERATION Luci e ombre sonore Alessandro Manzoni, Caravaggio WITH THE ISTI- Concert with Simone Vallerotonda and the »Factory« of Realism TUTO ITALIANO (theorbo and Spanish guitar) 19 December 2019, 7 p.m., Vortragsraum DI CULTURA 15 October 2019, 7 p.m. Registration: [email protected] Registration: [email protected]

Prof. Valeska von Rosen VENUE: Caravaggio al tempo di Caravaggio (Heinrich-Heine-Universität, Düsseldorf) ISTITUTO ITALIANO Performance by Dario Fo with Franca Rame Caravaggios »dunkle« Affekte DI CULTURA, (Videovorführung, 94 mins., 13 January 2020, 7 p.m., Kuppelhalle UNGARGASSE 43, in Italian with German subtitles) 1030 VIENNA 29 October 2019, 7 p.m. Prof. Lorenzo Pericolo Registration not required (University of Warwick) FREE ENTRY The Invention of the Baroque Body. From Caravaggio to Bernini 15 January 2020, 7 p.m., Kuppelhalle Registration: [email protected] BAROQUE IN One focus of the Kunsthistorisches Museum’s CONTEMPORARY Jasper Sharp, curator of the exhibition The ROME Picture Gallery lies in its rich collection of TALK David Plates, in conversation with artist Klaus Roman Baroque painting, which includes the Mosettig and art historian João Ribas. largest group outside Italy of masterpieces by GALLERY VI AND Caravaggio and his followers. BASSANO HALL ADJOINING CABINETS 7 NOVEMBER 2019 15 OCTOBER 2019 TO To pay tribute to these rich and diverse hol- 7 P.M. 19 JANUARY 2020 dings above and beyond the exhibition, works by influential masters such as Cavaliere FOLLOW US Follow us on Facebook und Instagram. Type d’Arpino, , Pietro da Cor- ‘barockstars’ in the GIF search bar of Insta- tona and are being displayed in gram Story and discover our Caravaggio & Gallery VI and its adjoining cabinets. Bernini emoji GIFs. Why not share your con- tributions with us?

THE DAVID In the Bassano Hall at the Kunsthistorisches #barockstars PLATES Museum you can see the most recent series of works by Austrian artist Klaus Mosettig: 15 EXHIBITION The exhibition catalogue, which features essays large-scale drawings based on radiographic CATALOGUE by international Baroque experts and was de- BASSANO HALL images of the Caravaggio painting David with signed by Irma Boom, is available in English 15 OCTOBER 2019 TO the Head of Goliath (Kunsthistorisches and German. 19 JANUARY 2020 Museum). The technique Mosettig uses to rework these images has established his repu- € 39,95 tation: he translates them meticulously, but simultaneously alienates them in a graphic Get your copy at the Museum’s shop or online technique that takes as its subject time and at shop.khm.at the process of production. Depending on the distance they are viewed from, perception FUTURE Also visit our Beethoven exhibition, on dis- changes between abstraction, fascination with EXHIBITION play from 25 March 2020! detail and the information value of the radio- graphic images. CARAVAGGIO & Daily 10 a.m., 12 noon, BERNINI 2 p.m. and 4 p.m. GUIDED TOURS Thu., Sat., Sun. also 7 p.m.

Thu. 5 p.m. (English) DURATION: CA. 60 MIN. Sat. 3 p.m. (English) MEETING POINT: ENTRANCE HALL Participant numbers limited Participation with inclusive time slot ticket: DAILY, € 11 / € 6* FROM 15 OCTOBER 2019 TO 19 JANUARY 2020 *valid for annual season ticket holders, mem- bers of the Friends of the Kunsthistorisches Museum, adolescents from age 14

Tickets with time slots can be purchased online at www.shop.khm.at/tickets and at the museum ticket sales points.

PRIVATE TOURS Would you like a private guided tour of the Ca- ravaggio & Bernini exhibition or our collections?

T +43 1 525 24 - 5202 (Mon–Fri, 9 a.m.–4 p.m.) [email protected] For details visit www.khm.at

STUDIO AND For further information visit GUIDED TOURS www.khm.at/erfahren FOR CHILDREN T +43 1 525 24 - 5202 Mon–Fri, 9 a.m.–4 p.m. [email protected]

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