The Roman Basilica of the Augustinac – Religious Red Pope Leo XIV – Hits iconic image Virgin Mary Author Caravaggio, an artist blockbuster who revolutionized the use of light and darkness in western arts.
A new exhibition of works by baroque painter is now in the view Rome By 6. July, allowing an updated view of his relationship with the spirituality.
From the Madonna Pilgrimage on the Basilica of St. Ursula that closes the Exhibit, Historians “Caravaggio 2025”, art historians and clerks point out links between religious beliefs and Karavaggi’s “” Chiarascuro “.
“It is the light that directs us to what the key points of the story are for him,” said the exhibition curator Francesca Cappelletti about the artistical spotlight on the main characters that appear from follow-up. “Our life experience only makes sense if they invest the spiritual light.”
Karavaggio Madonna on the basil of Augustine
In the Augustine Madoni, I go out of early 1600s, what Hits the viewers at eyes level are dirty feet of the ugly pilgrimage while kneeling in the apparition of the Virgin Mary. Casual leans toward the door frame while holding the size of the little one.
It is far a cry of the usual other worldview, genitage depictions of most Madonna. This makes it even more strainful in Augustine Spirituality, as it illustrates the encounter between the man’s nature and God’s mercy, said Rev. Pasquale Cormio, Rector of Basilica.
“We see that God’s desire showed mankind as someone walking next to the poor,” Cormio said. “It is certain that this Virgin Mary is close to maybe tired, perhaps wounded, certainly dirty humanity that is burdened with everyday life.”
The name of the pilgrimage Madonne references not only two figures before Mary, but also the fact that they were in this place, Augustinjes welcomed pilgrims on the road to the nearby Vatican from the end of the 13th century.
There were a memorial for Loreto – a shrine in the central Italy in which the tradition says that Mary’s house was miraculously air – that the painting was well-related protectors, said Alessandro Zuccari. Member of the Prestigious Academy of Italy Dei Lincei, he wrote a chapter on spirituality in the Karavaggio exhibition catalog.
Spirituality of rebel artists
In fact, despite its adventurous life and dashed real arts, Caravaggio has worked for prestigious, pious sponsors, including EUCharist worship, added euchatist worship, added euchathist worship, added Euchatistist worship.
This barely fits in the reputation of a transgringious “damn artist” that Caravaggio – whose full name was Michelangelo Merisi – calculated over the centuries.
“We don’t know what Caravaggio thought, because he didn’t leave the file,” Žuccar said. “I’m convinced, like other experts, that Caravaggio has his spirituality.”
Of about 70 images Karavaggio, more than 50 represents all saints or biblical scenes – even those intended for private collections, not churches, added.
Religious topics throughout Karavaggi’s work on the new exhibition
Some of the most famous are among the two dozen images in terms of Palazzo Barberini, covering time from the arrival of Caravaggio in Rome around 1595. year to his death 1610. Years. Include work on a loan from Dublin to Kansas City.
There is the first religious picture of Karavaggio, Sveti Francis Assisi, shown in the hands of the angel, while one of his early friends, brother Leo, barely visible in the surrounding environment.
It is an early example of those “Oscuri Gagliardi” – bold darkness, as an artistic critic from 17. century cited on the Exhibit Council. “Gagliardo” is Slang Word Romans and still use everything that would mean everything from panin to people with special tricks and power.
Two other religious images with the same innovative use of light and darkness take a creepy turn. In Judith, the Holofernet cut off, the Jewish hero frowned on the confusing blood filled from the door. In David with the head of Goliat, the cut-off head of dripping is a self-portrait.
In which the last picture of the artist is probably the last picture of the artist at 39. years, and last exposed to the new show, Caravaggio is also displayed. He is a man who peeks, stunned and open, from the darkness in a soldier who had just shot the arrow in the chest of St. Ursula.
More than caravaggion religious images are located in the chapel in the center of Rome. Saul conversion, which is in the early version at the exhibition, and the crucifixion of Petar are located in Santa Maria del Popolo, also an avinian community. Three pictures about St. Mattheju are located in the church of San Luigi Dei Franceses.
Two blocks, an hour in Augusting, pilgrims and tourists are still placed to see Karavaggio and other works of art. For Cormio, a welcoming them is a chance to encourage avissual spirituality.
“Augustin left us this class – that and through the beauty of creation and beauty of human works we can catch some beauty God“He said.
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