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Angelo Caroselli (Roma, 1585 – 1652) the Penitent Magdalene Oil on Canvas Ca

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Angelo Caroselli (Roma, 1585 – 1652) the Penitent Magdalene Oil on Canvas Ca Angelo Caroselli (Roma, 1585 – 1652) The penitent Magdalene Oil on canvas Ca. 1610-15 59 x 75 cm. Angelo Caroselli was born in Rome, the son of Achilles, a dealer in second-hand goods who bought broken silver and gold objects and was a minor but dedicated collector of paintings by renowned painters of the past1. Caroselli was a self-taught, experimental and intellectually curious painter. By 1604 he appears as one of the artists registered at the Accademia di San Luca in Rome, an institution with which he maintained some relationship, at least in the years 1608 and 1636. Caroselli broadened his knowledge of art outside the frontiers of his native region with early trips to Florence in 1605 and Naples in 1613. He was primarily based in Rome from approximately 1615, the year of his first marriage to Maria Zurca from Sicily, and it was there that he must have had a large studio although little is known on this subject. Passeri states that among the regulars in the “bottega” were the Tuscan Pietro Paolini and the painters Francesco Lauri and possibly Tommaso Donnini. Caroselli always kept abreast of the latest developments in art, particularly since Paolini, who arrived in his studio around 1619, initiated him into the first phase of Caravaggesque naturalism. Caroselli’s use of this language essentially relates to form and composition rather than representing a profound adherence to the new pictorial philosophy. Nonetheless, around 1630 it is difficult to distinguish between his works and those of his follower Paolini, given that both artists were fully engaged in the new artistic trend. Caroselli’s two biographers state that he was not a particularly successful artist in his lifetime. Passeri considered that this was due to lack 1 The earliest biographies of Caroselli are by Passeri (1673) and Baldinucci (1681-1728). In the present day they remain the principal sources of information on the artist. of support from important individuals while Baldinucci attributed it to the artist’s simultaneously aloof but epicurean nature, and the artist would certainly appear to have fallen in love easily. In 1642 Caroselli made a second marriage to Brigitta Lauri, one of the younger daughters of the painter Baldassar Lauro. Although his biographers state that he died poor, Caroselli must have been extended credit and have possessed some money as the inventories that accompany the will of the painter Tassi include six of his paintings. Many of Caroselli’s contemporaries commissioned copies from him of works by the great masters such as Raphael and Titian, but above all Caravaggio. These were painted with such quality and precision in the details that they were on occasions confused with the originals, even though Caroselli generally added the initials “AC” in one corner. Passeri provides considerable information on the artist, including the fact that he was invited to England by Charles I. Caroselli’s refusal facilitated the arrival of Orazio Gentileschi, who lived and worked in Britain from 1626 until his death in 1639. It appears that Caroselli was invited due to the fame he enjoyed as a painter of devils, a subject that relates to Charles’s father James I’s interest in the subject, on which he had written a treatise. According to Passeri, Caroselli produced numerous works for Charles I. Most of the artist’s surviving paintings are in private collections. Passeri compiled a detailed list of those in leading museums and other locations, mentioning The Pietà and two Prophets in the Vittrice chapel in the Chiesa Nuova, which was located exactly above Caravaggio’s Deposition but of which only the Prophet David now survives. Caroselli also painted a canvas of Saint Wenceslaus, originally in Saint Peter’s in the Vatican (now Kunsthistorisches Museum, Vienna) and a Saint Gregory the Great for the church of Santa Francesca Romana in collaboration with Francesco Lauri. Caroselli was fascinated by the subject of the penitent Magdalene, depicting it throughout his career with several variants and particularly focusing on it in his early years2. With regard to the present, fine example it 2 F. Baldassari: expertise on the present painting (2018). should be noted that there is a very similar version in the Musée Calvet in Avignon, on deposit from the Louvre since 18723. The present work has a more horizontal format, which allowed the artist to present a greater compositional complexity and include the saint’s traditional attributes, in addition to the skull on which her hand rests. These attributes are the crucifix and the Bible on the right and an urn on the left referring to the pot of unguent with which the Magdalene anointed Christ’s feet. With regard to the saint’s masculine appearance in the present painting (particularly evident in her muscular arm), according to Francesca Baldessari in the expertise that she wrote on the work, this is due to the fact that Caroselli employed a male model: “The same one depicted in the panel in the Louvre (fig. 1) [...] who has the same sideways gaze, the same position of the hands and very similar clothes”4. Again for Baldessari, in formal terms this work reveals an explicit Caravaggesque influence in the use of the chiaroscuro and she singles out the “beam of clear, direct light that enters from the left and falls on the figure, who stands out against the dark background [...]. The refined drawing and light brushstroke, applied to the pictorial surface in successive glazes, are stylistic elements that allow for an early dating within Caroselli’s career. For this author it should possibly be placed around 1610 to 1615, prior to the artist’s move from his native Rome to Naples”5. With regard to the painting’s iconography, Odile Delenda has referred to Jacopo da Voragine’s Golden Legend, which narrates how Mary Magdalene and Christ’s other followers were obliged to go on board a ship that lacked sails and a rudder so that they would undoubtedly drown. Divine Providence took care of them and guided the boat to the port of Marseilles, the city where the Magdalene’s preaching brought about various conversions. Dedicated to penance and contemplation, it was there that she retired to the cave of La Sainte-Baume6 where she spent the remaining 33 3 Louvre Museum (In. no.: D.872.10). 4 F. Baldassari, op. cit. 5 Ibid., p., op. cit. 6 The cave of the La Sainte-Baume has been a place of pilgrimage since the Middle Ages and still exists today. years of her life. Seven times a day, at the canonical moments of prayer, she was transported to the heavens by angels where she heard celestial music7. As Delenda noted, this Provençal part of the story of Mary Magdalene was disseminated from the 11th centuries onwards by monks in the city of Vezelay (Burgundy) in order to justify the presence of relics of the Magdalene in their church, which was an important pilgrimage site. The Magdalene’s cult was not, however, only limited to Provence and French Burgundy but was important throughout the Christian world given that she was one of the most popular saints8. Bibliography: unpublished. Reference bibliography: C.S. Salerno: Precisazioni su Angelo Caroselli, in “Storia dell’arte”, 76, (1992), pp. 346-361 G. Papi: “Caroselli, Angelo”, in La pittura in Italia. Il Seicento, eds. M. Gregori & E. Schleier, 2 vols., Milan, 1989, II, pp. 672-673. G.B. Passeri: Vite de’ pittori, scultori ed architetti che hanno lavorato in Roma dal 1641 al 1673, Rome 1772, first ed., Gregorio Settari, librero en el Corso, pp. 188-195; F. Baldinucci: Notizie de professori del disegno da Cimabue in qua, Florence, 1681, pp. 739-741. O. Delenda: L’iconographie de Sainte Madeleine après le Concile de Trente. Essai de Catalogue des Peintures des Collections publiques françaises, Pariis, unpublished thesis, École du Louvre, 1984-85, 5 vols. 7 O. Delenda, “La Magdalena en el Arte”, exhib cat., María Magdalena: éxtasis y arrepentimiento, Mexico City, Museo Nacional de San Carlos, 2001, pp.14-29. 8 Ibid, pp.14-29. O. Delenda: “La Magdalena en el Arte” in exhib. cat., María Magdalena: éxtasis y arrepentimiento, Mexico City, Museo Nacional de San Carlos, 2001, pp.14-29. Fig.1: Angelo Caroselli, The penitent Magdalene. Musée Calvet (Avignon), on deposit from the Musée du Louvre since 1872 (inv. no.: D.872.10). Fig.: Angelo Caroselli, The penitent Magdalene. Nicolás Cortés Gallery. .
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