The Sacrifice of Isaac: Caravaggio’S Merge of the Spiritual and the Physical
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Giovanna Franciosa (Caravaggio, Michelangelo Merisi. Sacrifice of Isaac, 1601-2. Galleria Degli Uffizi, Florence.) The Sacrifice of Isaac: Caravaggio’s Merge of the Spiritual and the Physical The separation between Caravaggio entangles these He struggled in his early the spiritual and physical dialogues through Abraham, years in Rome, where he worlds is a key characteristic who straddles the two worlds painted only secular of the oeuvre of Michelange- and plays an important role images that were seen as lo Merisi da Caravaggio. In in both the violence of the controversial and his painting The Sacrifice of physical and a shared unnecessarily violent, Isaac from 1601-2, however, understanding of the especially when he depicted Caravaggio, as he became spiritual. Through compar- gory beheadings and deaths. known, brings the two worlds ative analysis with several Caravaggio’s works of art together and carefully inter- works by Caravaggio, I argue seem to connect to his life, twines them by capturing for the uniqueness of this im- as he was frequently involved both the emotional complex- age in Caravaggio’s oeuvre, in physical altercations. He ities of life, as well as a deep and the critical importance of was arrested on various reverence for God through the figure of Abraham within occasions for his violent the figure of Abraham it. outbursts, assaults, and the (Fig. 1). Michelangelo Merisi was use of illegal weapons. Close born on September 29, 1571 to the end of his life, Cara- in the small town of vaggio was even involved in Caravaggio, Italy. He studied murder, which forced him to painting for four years under flee Rome in order to the direction of Simone escape execution. He often Peterzano in Milan. After his painted scenes depicting father’s death, Caravaggio violent deaths, which could moved to Rome where he reflect the weight of the began working as a painter. darkness that he felt in his life. (Figure 1: Caravaggio, Michel- angelo Merisi. Sacrifice of Isaac, 1601-2. Galleria Degli Uffizi, Florence.) In his work, he typically Because of this, in 1596-97, though he often went be- “shows a few figures he decided to change the yond these ideas, creating highlighted against the subject matter of his art and images that were considered darkness [which] gives a began accepting more to be controversial. rough profile of a man religious commissions. He Within his works, the rep- (Caravaggio) who tended to began painting biblical resentation of the brutality see human events in black scenes in the Baroque style found in the physical world and white.”1 With the and following the new is very present and understanding of the guidelines put in place by confrontational. Caravaggio difficulty and violence of the Catholic Counter-Refor- seems to recall the violence Caravaggio’s life, it becomes mation, established by the that was found not only in his easier to explain why Council of Trent during its own life but also in the brutality plays such a central 25th session in 1563, which everyday lives of his viewers. role in his oeuvre.2 stressed the importance of Throughout Rome, Caravaggio’s work is painting scenes directly from decapitations and public characterized by his use of the biblical text. The Church executions were seen on a tenebrism, the strong use of wished to place a stronger daily basis, which may have light and dark, which allowed emphasis on prayer and contributed to Caravaggio’s for an increased emphasis meditation. In order to bring realistic representation of on certain aspects of the this tradition back to the tortured and horrified faces.4 scene and heightened the Christian faith, the Through his many drama, pulling the viewer Counter-Reformation depictions of human into the emotional narrative “prescribed that the emotion, it becomes clear and allowing him/her to meditator imagine a that he desired to capture participate in it. Caravaggio religious scene as if it were the “aggressive naturalism” lived in poverty, as he did taking place before him that he was often faced with not receive enough commis- ‘now’…and participate in it during his life.5 sions to support himself as a by means of the senses.”3 This specificity of the secular painter. Caravaggio followed this representation of violence tradition in many of his can be seen in Caravaggio’s religious works, Judith Beheading Holofernes from 1599, 24 where Caravaggio depicts stands with her eyebrows With this piece, it seems that the violent moment when raised, expectantly and Caravaggio wants to shock Judith’s sword has sliced half excitedly waiting for and overpower the viewer way through the neck of Holofernes’ death. with his own fear of Holofernes with blood punishment and death. pouring from his throat While Caravaggio often (Fig. 2). The strong emotions incorporates the horror on the faces of Holofernes, and fear that was present in Judith and the maid are a everyday Roman life, he also, good example of the realistic more importantly, captures and powerful expressions the brutality and aggression that he was able to recall found in his own life. from the violence that he The violence of the physi- was faced with in his every- (Figure 2: Caravaggio, Michel- cal world is not the only day life. These expressions angelo Merisi. Judith Behead- important theme present in confronted the viewer and ing Holofernes, 1599. Galleria Caravaggio’s oeuvre. He also created a strong emotion- Nazionale d’Arte Antica, Rome, depicts the spiritual world, al response to the image. Italy.) as he “brings sacred subjects When looking at the faces down to earth.”7 of these figures, Caravaggio In 1606, Caravaggio depicts a wide range of emo- painted David with the Head tions: Holofernes stares up of Goliath (Fig. 3). In at the ceiling with his mouth this work, the viewer is open in a terrified scream, confronted with the moment while Judith seems to pull after David severs Goliath’s back from her actions as her head from his body. The furrowed brow and tense scene is gory, as the severed posture suggest both hes- head of Goliath, with life still itation and repulsion. The in his eyes, stares into the wizened maid, on the other darkness around him and hand, blood pours from his neck. (Figure 3: Caravaggio, Michel- The head is believed to be angelo Merisi. David with the a self-portrait of Caravaggio head of Goliath, 1606. Galleria and reflects the tragic as- Borghese, Rome.) pects of his life.6 By capturing the spiritual in Within his works, Caravag- the earthly realm, Caravag- gio allows certain figures to gio brings a physical tangibil- be able to see and recog- ity to the spiritual world and nize the presence of God, allows the viewer to feel its while others remain blind to presence in the work. the spiritual aspects of the Caravaggio projects a human scene. This concept, of those element onto the figures who can and cannot see, is of Christ and the saints. He shown through the use of brings them closer to the eye contact and gesture, as viewer and offers a well as through the use of (Figure 4: Caravaggio, Michel- angelo Merisi. Calling of St connection between these light. Light becomes the Matthew, 1600. San Luigi del religious beings and the embodiment of God, as it Francesi, Rome.) poor and common man. By washes over those who are giving these religious figures able to recognize the divine The figures to the left of the human traits, Caravaggio al- presence. scene play an important role, lows the spectator to engage In the Calling of Saint as they represent those who more easily with the subject Matthew from 1600, are unaware of the divine matter by representing the Caravaggio depicts a group presence. They embody the divine beings as relatable of men, most of whom are ignorance of man, as they human figures. totally unaware of the are concerned only with the Caravaggio’s depiction of presence of Christ and his secular world. The scene is the spiritual world, however, apostle, who stands next to set in a contemporary can be found only in cer- him (Fig. 4). Christ points to environment, as Caravaggio tain individual figures in his Matthew, a Roman tax depicts a modern example scenes. He typically creates a collector, calling him to join of Christ’s calling on division between the his mission. The light enters humankind to trust in the characters: those who are the scene from the right, power and strength of God. and are not able to engage above Christ, and washes The ignorant men who sit at with the spiritual world on over Matthew as he points to the end of the table counting earth. himself in response to their money are a perfect Christ’s call.8 example of those who are enthralled only by material possessions. 26 The two men sitting closest Caravaggio’s Conversion vulnerability and humility as to Christ and his apostle are of St Paul from 1601 is a very he is put directly in the both aware of their presence. isolated and intimate scene spotlight of God’s divine The figure with his back to- of religious conversion grace. Paul “receives the wards the viewer leans over (Fig. 5). Paul is sprawled out literal enlightenment of con- to speak with the apostle, on the ground overwhelmed version through the penetrat- and the other figure, who by the power of God, while ing rays of God’s light…an leans on Matthew’s shoul- the horse and servant seem old man who is lighted but der, looks directly at Christ.