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Vedi Napoli E Poi Muori: See Naples and Die

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Vedi Napoli E Poi Muori: See Naples and Die Carlotta de Bellis Trinity University Caravaggio and Artemisia December 12, 2019 Vedi Napoli e poi muori: See Naples and Die In 1606 Caravaggio did something that completely changed the course of his life: he killed a man. Throughout the entirety of his career, the artist was known for his explosive temper, but this irrational action was the last straw. After murdering Ranuccio Tomassoni in a tavern fight on May 29th, Caravaggio had to flee Rome, the city in which he was so well established.1 He spent his last years on the run escaping from Pope Paul V Borghese’s condemnation.2 The artist initially found refuge near Naples, where he was protected by Costanza Colonna Sforza. Then he made his way through Naples, Malta, and Sicily hoping one day to return to Rome.3 We know that Caravaggio’s Neapolitan sojourn divides itself into two different stays. The first stay in 1606-07 showcases the hospitable atmosphere he found in the city of Naples. During his second stay in 1609-10, just before his death, we encounter the artist prepared to return to Rome, having received papal pardon. During this later period, discussed more fully below, inclusion of possible self-portraits in some of the works of his Neapolitan period further demonstrate Caravaggio’s self-confidence and willingness to desist during what must have been challenging times. Caravaggio spent eighteen months in Naples, during two stays, producing six known works. The artist and the city share turbulent fame.4 Naples’ unique and mysterious charm fascinated Caravaggio, and surely the city might have given the artist inspiration for his late artistic production. Caravaggio’s character fit well with the crude reality that the city of Naples had to offer. His own body of work was not the only thing that benefited: Caravaggio was inspired by the evocative and infamous city, but his final works also left an important artistic legacy to the city of Naples and influenced its newly established pictorial school in the years to come. This period of the artist’s life is often believed to be very dark and desolate. However in Naples, the first destination of his escape journey, he found a very similar parallel to his raucous demeanor that seemed quite stimulating for the artist. Caravaggio and the city of Naples reacted to one another in a synergistic way. The 2019 exhibition Caravaggio: Napoli, which took place at the Museo di Capodimonte, was structured after this topic. This makes his Neapolitan period more significant from what it is usually considered to be. During his time in the city, he produced a considerable amount of artworks, which were private commissions either from churches or elite families, and are considered to be his late masterpieces. 1 Cassani, Silvia, and Maria Sapio. Caravaggio: the Final Years. (Napoli: Electa, 2004), 16. 2 Graham-Dixon, Andrew, and Michelangelo Merisi da Caravaggio. Caravaggio : A Life Sacred and Profane. W.W. Norton, 2011. 3 Marini, Maurizio. "L'alfa E L'omega Di Michelangelo Merisi Da Caravaggio, Pittore: Qualche Precisazione Documentaria Sulla Nascita E Sulla Morte." Artibus Et Historiae 20, no. 40 (1999): 131. 4 Marshall, Christopher R. Baroque Naples and the industry of painting: the world in the workbench. 2016. the Seicento is in fact a turbulent time in Naples as in the middle of the century there will be a revolt led by Masaniello against the Spanish viceroy. Second Time’s a Charm The paintings that exemplify Caravaggio’s stay in Naples and the transition of his style amidst his two Neapolitan periods are: The Flagellation (1607) at Capodimonte and The Seven Acts of Mercy 1607) of the Church of Pio Monte della Misericordia. These two paintings pertain to Caravaggio’s first stay in the city. The Martyrdom of St. Ursula (1610) at Palazzo Zevallos was executed during the artist’s second stay in the city and is considered to be his last painting. It is important to note that all three works were private commissions, and that the artist carefully crafted them for his patrons. Thus, Caravaggio responded to the needs of the art market in a very modern sense. Caravaggio’s Neapolitan period was re-evaluated in the second half of the 20th century by Roberto Longhi and Ferdinando Bologna, who wrote L’Incredulità del Caravaggio (2006). For many years it was thought that Caravaggio spent a little less than a year in the city of Naples and produced six very different paintings. However, today it is known that Caravaggio died in 1610. This confirms the existence of his second stay and doubles the amount of time that the artist spent in the city of Naples.5 This longer stay also amplifies the influence of the city on the artist and the legacy that Caravaggio left to Naples after his death. During his first period in Naples he produced three great altarpieces: The Seven Acts of Mercy, The Flagellation and The Madonna of the Rosary currently at the Kunsthistorisches Museum, Vienna.6-7 These pieces diverge stylistically from one another. At first glance one could almost say they were executed by different hands. During his second period in 1610, Caravaggio, while awaiting for papal forgiveness, painted The Denial of Saint Peter at the MET, Villa Borghese’s John the Baptist and Martyrdom of Saint Ursula. This latter period is more cohesive in style, and is distinguishable by a pervasive dark tonality and a greater narrative concision, which become a synthesis of his pictorial vocabulary.8 There is a distinction to be made not only between Caravaggio’s first and second period in Naples, but also among some of the works of the first period that demonstrate a transformation in his figural types, given by the greater emphasis provided by a thicker impasto, and the beginning of a more intense type of darkness, which is characteristic throughout the entirety of his second Neapolitan stay.9 Mythicizing His Death 5 In the Neapolitan Exhibition of 2019 works by Battistello Caracciolo, Louis Finson, Massimo Stanzione, Filippo Vitale artists who were very influenced by the Neapolitan Caravaggio. 6 Whitfield, Clovis, and Jane Martineau. Painting in Naples 1606-1705: From Caravaggio to Giordano. (New York, N.Y.: Alpine Fine Arts Collection, 1982), 37. 7 It was demonstrated in the 2019 Neapolitan Catalogue that Vienna’s Madonna of the Rosary was realized in Naples. Previously many scholars attributed this work to Caravaggio’s late Roman period. 8 Cassani, 2004: 142. 9 Bellori, Giovanni Pietro, Alice Sedgwick Wohl, Hellmut Wohl, and Tomaso Montanari. The lives of the modern painters, sculptors and architects. (New York: Cambridge University Press, 2009) Bellori in Caravaggio’s biography writes “Risentito di oscuri gagliardi servendosi assai del nero per dar rilievo a li corpi.” 2 It is often said that Caravaggio died in quite a dramatic way: alone, as a fugitive, and under the blazing sun on the shore of Porto Ercole after contracting malaria. However, much information regarding his final years is speculative or even fictionalized.10 Thanks to Vincenzo Pacelli’s discoveries and translations of the archival materials today we are able to have a more accurate chronology of the time the artist spent in Naples.11 Even though Bellori, was the most comprehensive of his biographers, he only briefly mentions his stay in Naples and his first commission there. Bellori’s distance in time gave him a more ample sense of the artist's life in retrospect, but at the same time this granted him greater authorial agency in his biography. Bellori, by anticipating Caravaggio’s death by a year in 1609 - the same year of Annibale Carracci’s and Federico Zuccari’s deaths - does not cover his return to Naples for ten months.12 This altered quite significantly the reconstruction of his life, and our understanding of his final years. Perhaps, the anticipated death was an expediency used by the biographer to dramatize the event even more, making 1609 the year when the world lost three great artists.13 Caravaggio’s Heirs Caravaggio was welcomed by Naples and had a successful career there, especially during his first stay. As Mina Gregori argues in her essay, “in the broader sense Neapolitan painters were the heirs of Caravaggio.” 14 After the artist’s death, the city’s artistic scene was attracted by the effect of Caravaggio’s mundane subject matter, and the emotional charge he imbued in each of his canvases. His influence is proven by the fact that his arrival in Naples, in 1606, marks the start of the Baroque era for the city, which is considered to end in 1705 with the death of Neapolitan painter Luca Giordano, whose master, Jusepe de Ribera, was influenced by Caravaggio. 10 Sohm, Philip. "Caravaggio's Deaths." The Art Bulletin 84, no. 3 (2002): 449-68. Many accounts summarize and make sense of the life of Caravaggio, and even more are written about his death. In these narratives, historical veracity is not the authors’ first concern, but rather, a story that sounds plausible and fits best with our imagination of the eccentric artist is created. Sohm wants to prove how different biographers crafted the narration of Caravaggio’s death (and consequently his life) in order to characterize how they talked about the artist’s style. These fictional verisimilitudes made his death a basis for their art criticism and understanding of the artist. 11 Pacelli, Vincenzo. Caravaggio, le sette opere di misericordia. (Salerno:1984), 10/17. 12 The Cerasi Chapel is only instance where Caravaggio and Carracci work, separately, on the same commission in the church of Santa Maria del Popolo, Rome. 13 Bellori, Giovanni.
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