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The Passion of Caravaggio

Paulo Martins Oliveira
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Introductory note Following and extending a concept subtly developed by previous masters, Caravaggio merged different episodes into single synthesizing images1. This dynamic use of compromise solutions is the key to understanding Caravaggios works, such as The Flagellation of Christ (Naples), which actually represents different steps of the Passion of Jesus.

In this context, for example the ambiguous position of his legs (arriving/leaving the column) is indicative of the protean design employed by the Italian artist.
1 A brief example of this concept can be found in the article Reviewing Konrad Witz an ingenious artist of the 15th century. 1

Superficial scene Jesus was sent to be flogged. Mt.27:26; Mk.15:15; Jn.19:1

Overlapped scene - A The wroth high priest tore his own clothes, accusing Jesus of blasphemy. Mt.26:65; Mk.14:63

Comparative example

det.

Giotto Christ before the high priest (Caiaphas)

Overlapped scene - B The soldiers mocked Jesus with a crown of thorns, and knelt before him sarcastically. Mt.27:29; Mk.15:17-19

Comparative example

det.

Anthony van Dyck Crowning with thorns (det.)

Overlapped scene - C Jesus carried the cross with difficulty, being helped by Simon of Cyrene. Mt.27:32; Mk.15:21; Lk.23:26
Comparative example

det.

Raphael Christ falling on the way to Calvary (det.)

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Overlapped scene - D The soldiers placed Jesus on the cross. Mk.15:24; Lk.23:33; Jn.19:18

Comparative examples (also allegorical)

det.

Dirck van Baburen Prometheus being chained by Vulcan (Prometheus represents Christ, associable to Hermes/Mercury, i.e. the Messenger)

Gerrit van Honthorst Childhood of Christ (The young Jesus glimpses his own redemptive destiny, i.e. to be crucified)

Overlapped scene - E Jesus was crucified with two criminals. Mt.27:38; Mk.15:27; Lk.23:33; Jn.19:18

Comparative example (also allegorical)

det.

Leonardo da Vinci The Last Supper (det.) Christ (as James) crucified and flanked by the two thieves2.

Overlapped scene - F Darkness came over all the land. Christ bowed his head and died. Mt.27:45; Mk.15:33; Lk.23:44; Jn.19:30

Comparative example

det.

Matthias Grnewald The Crucifixion (det.)

2 See the article Leonardo's Last Supper and the three layers. 5

Overlapped scene G The centurion recognized the divinity of Jesus. Mk.15:39; Lk.23:47

Comparative example

det.

James Tissot The confession of the centurion (concerning the same episode)

Overlapped scene H Following a request from Joseph of Arimathea, Christ was taken down from the cross. Mk.15:45-46; Lk.52-53; Jn.19:38-39
Comparative example

det.

Albrecht Drer The descent from the cross

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Another example from Caravaggio, also summarizing the Passion

Caravaggio The Crowning of Thorns

Layer 1: Christ being crowned with thorns. Layer 2: The dead Jesus being lowered from the cross. On the left stands the respectful centurion.

Rubens The descent from the cross

Lucas Cranach Calvary (Jesus and the centurion)

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In a general perspective, Caravaggio designed characters with superimposed identities, and at the same time assigned a given identity to different individuals, in order to create dynamic narratives. This elaborate symbolic engineering is systematically detectable in other works, such as The Calling of St. Matthew, fully decoded elsewhere3.

B A) B) C) The tax collector Matthew (Levi) is still absorbed in his work. Matthew is awakened by the Good Word. The converted Matthew receives instructions to spread the Good Word, and to convert others by himself.

In this layer, Caravaggio used three different characters to symbolize the progression of the same individual, and this work conceals several other ingenious sub-narratives 4. Caravaggio extended and reinvented concepts of earlier masters, and left a deep influence on the next generation of artists, including Velzquez.

Diego Velzquez Las Hilanderas

2013
3 Specifically in the article O conceito dinmico de Caravaggio. 4 For instance, the dialogue between characters B and C expresses a typical struggle of conscience, which accompanies all human beings, including the most holy ones. For more on this issue see the article The Deceptive Angels (concerning works of Titian and Caravaggio). 8

Related writings Original research (2009-13, independent projects: Escriptos; Akenpapers/Akenvis) Papers (until July 2013) Bosch and the hidden devils of the Garden Bosch, the surdo canis Botticellis Primavera: the dual wind Deconstructing Caravaggio and Velzquez Depicting Michelangelo Leonardos Last Supper and the three layers Rembrandt and the art of compromise Reviewing Konrad Witz an ingenious artist of the 15th century The (diabolic) oak of the Rovere Popes The Adoration of the Magi (Botticelli) The Deceptive Angels The Delights of Coudenberg The Devilish Chapel of Michelangelo The Dutch Company The dynamic concept of Sandro Botticelli The L(eonardo) and the S(alai) The Leaves of Caravaggio The nationalist and rational Jheronimus Bosch The Passion of Caravaggio The Sistine Ceiling and the Holy Spirit The Sistine Chapel and the new Jeremiah The Sistine Chapel of Michelangelo: the Law and the Judge A Bno de Rafael (P) A ltima Ceia de Leonardo e as trs camadas (P) As faces de Engelbert (P) O conceito dinmico de Caravaggio (P) O engenho de Matthias Grnewald (P) O falso paraso de Tiziano (P) O mecanismo dos Painis de Avis (P) O nacionalista e racional Jheronimus Bosch (P) Os Demnios de Nuno Gonalves (P) Porqu Jheronimus Bosch? (P) Books Leonardo x Michelangelo The Devils of Art Jheronimus Bosch o relojoeiro dos smbolos Os Demnios de Arte Separata 1 Os Painis de Avis A Janela de Tomar Forthcoming main publications on the symbolic engineering of artworks (15th-17th centuries): Jan van Eyck, Rogier van der Weyden, Botticelli, Leonardo, Michelangelo, Titian, Bruegel, Caravaggio, Velzquez, Vermeer (2013-15).