Medusa (Caravaggio)

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Medusa
Italian: Testa di Medusa
Caravaggio - Medusa - Google Art Project.jpg
Artist Caravaggio
Year1597
TypeOil on canvas mounted on wood
Dimensions60 cm× 55 cm(24 in× 22 in)
LocationUffizi, Florence

Two versions of Medusa were created by Michelangelo Merisi da Caravaggio, one in 1596 and the other in ca. 1597. Both depict the moment from Greek mythology in which the Gorgon Medusa is killed by the demigod Perseus, but the Medusas are also self-portraits. Due to its bizarre and intricate design, the painting is said to display Caravaggio's unique fascination with violence and realism. The Medusa was commissioned by the Italian diplomat Francesco Maria del Monte, who planned to gift the commemorative shield to Ferdinando I de' Medici and have it placed in the Medici collection. [1] It is now located in the Uffizi Museum in Florence without signature.

Contents

History

In the 1590s, Caravaggio was working in Rome, and his success and wealth were increasing. However, the time in which he painted the two versions of the Medusa was characterized by several run-ins with the law. In July 1597, Caravaggio and his partner Prospero Orsi became involved as witnesses in a crime that occurred near San Luigi de' Francesi. In one instance, a barber named Luca gave a testimony about Caravaggio where he provided a description regarding his mysterious attire:

"This painter is a stocky young man…with a thin black beard, thick eyebrows and black eyes, who goes dressed all in black, in a rather disorderly fashion, wearing black hose that is a little bit threadbare, and who has a thick head of hair, long over his forehead." [2]

At the time, there was an unsolved case in which two items were reported as being missing—a dark cloak and a small dagger. [2] As a result of his mysterious behavior and affiliation with cloaks, Caravaggio was arrested several times. He told authorities that he liked dressing in dark attire to avoid drawing unnecessary attention to himself, which was also why he preferred to make late night trips. [2] On May 4, 1598, he was arrested again for possessing a sword in public, and defended himself by saying:

“I carry the sword by right because I am Painter to Cardinal del Monte. I am in his service and live in his house. I am entered on his household payroll.” [2]

Caravaggio's paintings were never in tune with the idealized themes that were prevalent during the time period. Instead, he became more intrigued with the idea of realism and incorporated it into his paintings such as Boy with a Basket of Fruit , The Fortune Teller , The Cardsharps , Bacchus , and even The Musicians , which were all painted within the same time period. [3] When he painted Medusa, Caravaggio hit a great milestone in his life - he was given a chance to decorate the Contarelli Chapel, in which he created realistic images regarding the life of St. Matthew himself. [2] Some of these paintings include Saint Matthew and the Angel , The Martyrdom of Saint Matthew , and The Calling of Saint Matthew . [2] This opportunity to paint the chapel gave him great advantage and a sense of motivation to incorporate more realism in his artworks.

Versions

The first version of the painting, created in 1596, is known as Murtula. It was named after poet Gaspare Murtola, who wrote of Medusa, "flee, for if your eyes are petrified in amazement, she will turn you to stone." [4] It measures 48 by 55 cm in length and is signed Michel A F (Latin: Michel Angelo Fecit), meaning "Michel Angelo made [this]." [5] This work is privately owned. [5]

The second version of the painting is known as Medusa (Italian: Testa di Medusa). It is slightly bigger than the first, measuring 60×55 cm in length. Although the work is not signed or dated, it is believed by some to have been completed in 1597.[ by whom? ] It is held in the Uffizi Museum. [5]

Subject matter

The painting depicts the severed head of Medusa, a figure from Greek myth. Medusa was once a human woman, but the goddess Athena cursed her to live as a monster after Poseidon raped her in one of Athena's temples. Her hair was turned to snakes, and anybody who looked at her would be turned to stone. [6] Perseus, the demigod child of Zeus, eventually decapitated Medusa using gifts from the gods. [7]

Caravaggio replaced Medusa's face with his own, allowing him to position himself as being immune to her fatal gaze. [8] Though the head is decapitated, it still appears conscious, with the painting capturing its final moments before death. [9] The face's eyes are widened, and its brows are creased; its mouth hangs open. Blood pours out of the severed neck.

Description

Material

The chemical composition of this painting is extremely complex. Caravaggio used a circular shield made from poplar wood as a base for this painting. The shield was covered by linen, on which four different layers of paint—known as preparation layers—were added to help create the basis for the painting. [10] On top of the preparation layers, an additional layer was applied to make the background appear more reflective. [10] On top of this reflective layer, another layer was applied (the green background that is shown on the painting)—this layer consists of a mixture of verdigris and lead-tin yellow paint. [10] On top of this background layer, three more layers consisting of mixtures of siccative oils, turpentine and mastic with traces of beeswax were applied to form the painting. [10] At last, a few more layers were added to help conserve the painting.

Style

Caravaggio employs tenebrism and realism to create the illusion of a three-dimensional work. Medusa's cheeks and jawline are also elongated to complement the nature of the painting. [10]

Caravaggio chose to mount the canvas on a convex wooden shield because it would draw comparisons to the much-celebrated work of Leonardo da Vinci. A well-known anecdote of the time stated that Leonardo's father had once asked him to decorate the surface of a shield. In response, Leonardo had painted a "hybrid monster," combining the attributes of animals such as snakes, insects and lizards. Medusa, with her snakes for hair, could also be considered a "hybrid monster." [9]

Influence

Caravaggio depicted the act of decapitation in several of his other paintings, including Judith Beheading Holofernes, David with the Head of Goliath, and The Beheading of St John the Baptist. [3]

See also

Sources

  1. Stanska, Zuzanna (5 August 2018). "The Shiny Shield With Caravaggio's Medusa". Daily Art Magazine. Retrieved 19 March 2019.
  2. Graham-Dixon, Andrew. “Caravaggio.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 4 February 2019.
  3. “Medusa: The Real Story of the Snake-Haired Gorgon.” Greek Mythology.
  4. Barolsky, Paul (April 2013). "The Ambiguity of Caravaggio's 'Medusa'". Source: Notes in the History of Art. 32 (3): 28–29. doi:10.1086/sou.32.3.23392422. JSTOR   23392422. S2CID   191384440.
  5. "Perseus: Greek Mythology." Encyclopædia Britannica, 14 February 2019.
  6. Jones, Jonathan. "Medusa, Caravaggio (c 1598)." The Guardian, 25 Jan, 2003.
  7. Puttfarken, Thomas (2007). "Caravaggio and the Representation of Violence". Umeni / Art. 55 (3): 183–195. EBSCOhost   28115340.
  8. Posèq, Avigdor W. G. (1990). "Caravaggio and the Antique". Artibus et Historiae. 11 (21): 147–167. doi:10.2307/1483388. JSTOR   1483388.
  9. Favaro, Monica; Vigato, Pietro A.; Andreotti, Alessia; Colombini, Maria Perla (1 December 2005). "La Medusa by Caravaggio: characterisation of the painting technique and evaluation of the state of conservation". Journal of Cultural Heritage. 6 (4): 295–305. doi:10.1016/j.culher.2005.04.003.

Related Research Articles

<span class="mw-page-title-main">Aegis</span> Shield, buckler, or breastplate of Athena and Zeus bearing the head of Medusa

The aegis, as stated in the Iliad, is a device carried by Athena and Zeus, variously interpreted as an animal skin or a shield and sometimes featuring the head of a Gorgon. There may be a connection with a deity named Aex, a daughter of Helios and a nurse of Zeus or alternatively a mistress of Zeus.

<span class="mw-page-title-main">Pegasus</span> Mythological creature in Greek mythology

Pegasus is a winged horse in Greek mythology, usually depicted as a white stallion. He was sired by Poseidon, in his role as horse-god, and foaled by the Gorgon Medusa. Pegasus was the brother of Chrysaor, both born when their mother was decapitated by Perseus. Greco-Roman poets wrote about his ascent to heaven after his birth and his obeisance to Zeus, who instructed him to bring lightning and thunder from Olympus.

Medusa is one of the three Gorgons in Greek mythology.

<span class="mw-page-title-main">Chrysaor</span> Ancient Greek mythological figure

In Greek mythology, Chrysaor was the brother of the winged horse Pegasus, often depicted as a young man, the son of Poseidon and Medusa, born when Perseus decapitated the gorgon.

And when Perseus cut off her head, there sprang forth great Chrysaor and the horse Pegasus who is so called because he was born near the springs of Ocean; and that other, because he held a golden blade in his hands.

<span class="mw-page-title-main">Gorgons</span> Female monsters in Greek mythology

The Gorgons, in Greek mythology, are three female monsters, Stheno, Euryale, and Medusa, sisters who were able to turn anyone who looked at them to stone. Euryale and Stheno were immortal, but Medusa was not and was slain by the hero Perseus.

<span class="mw-page-title-main">Danaë</span> Figure in Greek mythology

In Greek mythology, Danaë was an Argive princess and mother of the hero Perseus by Zeus. She was credited with founding the city of Ardea in Latium during the Bronze Age.

<span class="mw-page-title-main">Perseus</span> Ancient Greek hero and founder of Mycenae

In Greek mythology, Perseus is the legendary founder of the Perseid dynasty. He was, alongside Cadmus and Bellerophon, the greatest Greek hero and slayer of monsters before the days of Heracles. He beheaded the Gorgon Medusa for Polydectes and saved Andromeda from the sea monster Cetus. He was the son of Zeus and the mortal Danaë, as well as the half-brother and great-grandfather of Heracles.

<span class="mw-page-title-main">Medusa</span> Goddess from Greek mythology

In Greek mythology, Medusa, also called Gorgo or the Gorgon, was one of the three Gorgons. Medusa is generally described as a woman with living snakes in place of hair; her appearance was so hideous that anyone who looked upon her was turned to stone. Medusa and her Gorgon sisters Euryale and Stheno were usually described as daughters of Phorcys and Ceto; of the three, only Medusa was mortal.

<i>Bacchus</i> (Caravaggio) Painting by Caravaggio

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<span class="mw-page-title-main">Gorgoneion</span> Amulet showing the Gorgon head

In Ancient Greece, the Gorgoneion was a special apotropaic amulet showing the Gorgon head, used by the Olympian deities Athena and Zeus: both are said to have worn the gorgoneion as a protective pendant, and often are depicted wearing it. It established their descent from earlier deities considered to remain powerful. Among other attributes, it was assumed by rulers of the Hellenistic age as a royal aegis to imply divine birth or protection, as shown, for instance, on the Alexander Mosaic and the Gonzaga Cameo.

<span class="mw-page-title-main">Cultural depictions of Medusa and Gorgons</span> Medusa and the other Gorgons in art and culture

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<i>Perseus and the Gorgon</i> Sculpture by Camille Claudel

Perseus and the Gorgon is a 1902 monumental sculpture by Camille Claudel that portrays a scene from Greek mythology. The artist sculpted her own likeness for Medusa's face, in anger after the break-up of her romantic partnership with sculptor Auguste Rodin. The work achieved a great notoriety throughout the years.

<i>Narcissus</i> (Caravaggio) Painting by Caravaggio

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<i>Medusa</i> (Rubens) C. 1618 painting by Peter Paul Rubens

Medusa is a c.1618 painting by the Flemish painter Peter Paul Rubens, showing the severed head of Medusa. The snakes in the painting have been attributed to Frans Snyders. Frans Snyders also helped Peter Paul Rubens with his work Prometheus Bound, where he painted the eagle portrayed in it. It is in the collection of the Kunsthistorisches Museum in Vienna. Another version is held in Moravian Gallery in Brno. Rubens was not originally attributed to the painting. Medusa was a popular iconographic symbol at the time due to the interest in Greek mythology by numerous Baroque artists such as Rubens and Caravaggio. The use of Medusa as a symbol has evolved over the course of centuries and has various interpretations of the iconographic meaning, with Rubens' painting based on an interpretation of the Greek mythological story of Medusa.

<i>Perseus and Andromeda</i> (Leighton) Painting by Frederic Leighton

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<i>Esther Before Ahasuerus</i> (Artemisia Gentileschi) Painting by Artemisia Gentileschi

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In Greek mythology, Stheno and Euryale were two of the three Gorgons, along with Medusa, sisters who were able to turn anyone who looked at them to stone. When Perseus beheaded Medusa, the two Gorgons pursued him but were unable to catch him.

<i>Minervas Visit to the Muses</i> Painting by Joos de Momper

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References

  1. ↑ Barolsky, Paul (April 2013). "The Ambiguity of Caravaggio's 'Medusa'". Source: Notes in the History of Art. 32 (3): 28–29. doi:10.1086/sou.32.3.23392422. JSTOR   23392422. S2CID   191384440.
  2. 1 2 3 4 5 6 Graham-Dixon, Andrew. "Caravaggio Italian Painter". Encyclopædia Britannica. Retrieved 21 April 2019.
  3. 1 2 Posèq, Avigdor W. G. (1990). "Caravaggio and the Antique". Artibus et Historiae. 11 (21): 147–167. doi:10.2307/1483388. JSTOR   1483388.
  4. ↑ Gloria Fossi, Uffizi: Art, History, Collections (Giunti Editore, 2004), p. 530.
  5. 1 2 3 Stanska, Zuzanna (5 August 2018). "The Shiny Shield With Caravaggio's Medusa". Daily Art Magazine. Retrieved 19 March 2019.
  6. ↑ "Medusa: The Real Story of the Snake-Haired Gorgon". Greek Mythology. Retrieved 19 March 2019.
  7. ↑ Britannica, inc., Encyclopædia (14 Feb 2019). "Perseus Greek Mythology". Encyclopædia Britannica. Retrieved 19 March 2019.
  8. ↑ "Why Did Caravaggio Paint Medusa?". The Collector. Retrieved 6 December 2022.
  9. 1 2 Jones, Jonathan (24 Jan 2003). "Medusa, Caravaggio (c 1598)". The Guardian. Retrieved 18 March 2019.
  10. 1 2 3 4 5 Favaro, Monica; Vigato, Pietro A.; Andreotti, Alessia; Colombini, Maria Perla (1 December 2005). "La Medusa by Caravaggio: characterisation of the painting technique and evaluation of the state of conservation". Journal of Cultural Heritage. 6 (4): 295–305. doi:10.1016/j.culher.2005.04.003.
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