{"id":3111,"name":"Caravaggio","email":"ensembles@muhka.be","language_id":1,"permalink":"caravaggio","deleted":false,"legal_status_id":null,"url_1":"","twitter":null,"category_id":47,"date_of_birth":null,"place_of_birth":null,"country_of_birth":null,"place_of_residence":null,"country_of_residence":null,"cached_privileges_list":"User","cached_tag_list":"Barok","publishing_process_id":1,"can_log_in":false,"firstname":"Michelangelo Merisi da","lastname":"Caravaggio","annotation":"","url_2":"","url_3":"","cached_name":"Caravaggio","date_of_death":null,"cached_name_asc":"Caravaggio","stream_count_app":25,"gender":"male","platform_admin":null,"description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/173/large/Caravaggio_Selfportrait_%282%29.jpg?1527507874","poster_credits":"Collection Biblioteca Marucelliana","media_count":1,"items_count":2,"translations":[{"locale":"en","short_description":"","description":"\u003cp\u003eCaravaggio painted \u003cem\u003eDavide con testa di Golia\u003c/em\u003e (\u003cem\u003eDavid with the head of Goliath\u003c/em\u003e) three times, but this version from the Galleria Borghese is the most dramatic and the most iconic. The two other versions, from an earlier date and totally different from this one, are located in the Prado in Madrid and the Gem\u0026auml;ldegalerie of the Kunsthistorisches Museum in Vienna. Caravaggio experts almost unanimously agree that the Goliath in this scene is a self-portrait of Caravaggio, and that it is one of the last images he has painted. In the Old Testament book of Samuel, David is the fearless young boy who kills the Philistine giant Goliath with one well-aimed shot from his slingshot. In Caravaggio\u0026#39;s painting, David grabs the severed head of Goliath by the hair and holds it out in front of him like a trophy. His stretched-out arm and the sword with which the decapitation was effected, form a perfect quadrangle. Yet Caravaggio\u0026#39;s David does not seem proud of his achievement. On the contrary, he looks down on Goliath with a mixture of sadness, regret and compassion. The head of Goliath clearly shows the wound the stone made in his forehead. Blood is dripping from the neck of the severed head that was just separated from the body. The light in his eyes will extinguish at any moment. His open mouth seems to emit a final death rattle. Virtually all modern Caravaggio biographers relate this image to the plight of the painter after the murder of Ranuccio Tomassoni. Caravaggio was a hunted man since that fateful evening of May 28, 1606. In Rome a death sentence had been pronounced against him \u0026ndash; a sentence that, in those days, was often performed by beheading. He had been on the run for years: from Rome to Naples, then to Malta, Sicily and back to Naples. He did not stay long anywhere, because he saw danger everywhere. And rightfully so. The death penalty was also a fatwa: any bounty hunter could deliver the head of a sentenced person to the pope. That is where the term \u0026#39;headhunting\u0026#39; comes from. In Italy, at the time, there were gangs that made a living out of it. \u003cem\u003eDavide con testa di Golia\u003c/em\u003e is a clear reference to that situation, albeit an ambiguous one. The painting can be read as the expression of a death wish: Caravaggio/Goliath is tired of being hunted and finally exhaustedly accepts the fate that has been awaiting him for years. With a last dramatic, masterful gesture, the painter welcomes the peace that death will bring. But it is much more likely that this painting was meant to save his skin. Already since his flight from Rome, Caravaggio\u0026#39;s high-ranking friends pleaded with the Pope to grant him pardon. The crucial figure in those secret negotiations was Cardinal Scipione Borghese. He was the nephew of the incumbent Pope Paul V and the treasurer and political leader of the papal state. But Borghese was also a great art lover and collector. His phenomenal collection, which for the most part came about through extortion and brutal confiscation, was housed in the Villa Borghese, the current Galleria Borghese. It contains no less than six works by Caravaggio, including this key work. It is presumed that Caravaggio painted this \u003cem\u003eDavide con testa di Golia\u003c/em\u003e in Naples, in the last year of his life, after he had heard that the Pope was about to grant his petition. It is not clear whether the canvas was an ultimate attempt to favour Scipione Borghese, or rather a payment for an already made decision. It is however certain that it was intended from the outset for Borghese. By portraying himself as Goliath, Caravaggio identifies himself explicitly with the villain and the loser, not with the heroic victor David. It is both an admission of guilt and a supplication for forgiveness. David shows Goliath compassion. And there is also the inscription in the blade of the sword: H-AS OS, which in most studies on Caravaggio is read as \u0026#39;humilitas occidit superbiam\u0026#39;. Humility kills pride. In painterly terms, \u003cem\u003eDavide con testa di Golia\u003c/em\u003e is considered the most intimate painting that Caravaggio ever made. Quickly painted, with thin layers of paint, but oh so sharp and precise. In terms of construction and scenography, it is perhaps the simplest work in his entire oeuvre \u0026ndash; we see only the upper body of David and the facial expressions of David and Goliath emerging from the dark, the darkest possible black that surrounds them \u0026ndash; yet it creates such a strong impact. Theatricality that does not stand in the way of emotion, virtuosity that does not diminish emotionality, horror that does not distract from beauty. And also: David who is not portrayed as an apathetic killer but almost as a co-victim. A murderer who expresses remorse. Just like Caravaggio. There are Caravaggio experts who discern in David\u0026#39;s features a young version of the painter. This would make this painting a double self-portrait. Peter Robb, the biographer who goes the furthest in relating Caravaggio\u0026#39;s work to his life, sees it differently. According to him, \u003cem\u003eDavide con testa di Golia\u003c/em\u003e contains a few obvious homoerotic references. The suggestive position of the sword that glides towards David\u0026#39;s groin. The half-naked torso of David, a beautiful boy\u0026#39;s torso with a transparent white shirt draped on one side. And above all: the true identity of David. Through comparisons with previous paintings in which this figure is depicted, Robb has become convinced that this David is none other than Francesco Boneri, nicknamed Cecco del Caravaggio. Cecco was the boy who modelled for the most daring paintings made during Caravaggio\u0026#39;s heyday in Rome, including the only two full frontal nudes in his oeuvre: \u003cem\u003eAmor Victorious\u003c/em\u003e (1601) and \u003cem\u003eJohn the Baptist\u003c/em\u003e (1602). Cecco was already mentioned by Caravaggio\u0026#39;s first biographers as \u0026#39;Caravaggio\u0026#39;s boy\u0026#39;, \u0026#39;who slept with him.\u0026#39;\u0026nbsp; If this interpretation is correct, then Caravaggio\u0026#39;s gift to Scipione Borghese might, aside from being a humble bow, be a last, subtle provocation. Simply because he could not resist.\u003c/p\u003e\r\n\r\n\u003cp\u003eCaravaggio probably painted \u003cem\u003eFanciullo morso da un ramarro\u003c/em\u003e (\u003cem\u003eBoy bitten by a lizard\u003c/em\u003e) shortly after arriving in Rome from Milan. It is a work that he made of his own accord; at the time, he was still looking for customers, clients and patrons. Together with \u003cem\u003eSelf-portrait as Bacchus\u003c/em\u003e, \u003cem\u003eBoy with a fruit basket \u003c/em\u003eand \u003cem\u003eThe lute player\u003c/em\u003e, it is one of the early works \u0026ndash; often combinations of portrait and still life \u0026ndash; with which he quickly made his name and fame in Rome. All the elements that characterise his art were already present: an astonishingly accurate brush technique, an original theme choice (or very idiosyncratic interpretations of known themes), a powerful chiaroscuro, and an almost cinematic theatricality that nevertheless seems \u0026#39;life-like\u0026#39;. The boy who is bitten is probably Mario Minitti. For almost ten years he was Caravaggio\u0026#39;s favourite male model, and for five of those ten years they also lived together. Mario is the androgynous figure who infuses works such as \u003cem\u003eThe musicians\u003c/em\u003e (1595) and \u003cem\u003eThe lute player\u003c/em\u003e (1596) with homoerotic overtones, and also the fantastic actor who turns \u003cem\u003eFanciullo morso da un ramarro\u003c/em\u003e into an almost modern painting. The scream he utters upon being bitten is almost audible. Mario Minitti broke with Caravaggio after 1600 because he could not cope with the incessant binges and benders and longed for a quieter life. He married, returned to his native Sicily and became a successful commercial painter in Syracuse. There are two fairly identical versions of \u003cem\u003eFanciullo morso da un ramarro\u003c/em\u003e. One is in the National Gallery in London. The version exhibited in Antwerp is rougher and more schematically painted, with harder contrasts, accentuating the boy\u0026#39;s startled reaction. It belongs to the Fondazione Longhi collection in Florence, the collection of the legendary Italian art critic Roberto Longhi (1890-1970).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eFlagellazione di Cristo\u003c/em\u003e (\u003cem\u003eThe Flagellation of Christ\u003c/em\u003e) is one of the great works of Caravaggio\u0026#39;s late oeuvre. After \u003cem\u003eThe Seven Works of Mercy\u003c/em\u003e for the Pio Monte della Misericordia Church, it was his second important commission in Naples, where he settled in the early autumn of 1606.\u0026nbsp; Barely a year after his flight from Rome, he was already the great star of Naples. \u003cem\u003eFlagellazione\u003c/em\u003e was a commission from the ambitious De Franchis family, who wanted to present a monumental altarpiece in its chapel in the San Domenico Maggiore church. Caravaggio did not disappoint. Christ has rarely been depicted in a more imposing and visceral manner. Clothed only in a loincloth, his musculature is that of an athlete, rather than that of a deity. Yet he bears his crown of thorns and his fate with dignity. Pushed, abused and gagged by the three rugged, tawny figures, the executioners of Pilate, in the mighty light that falls from above on his divine body and his pale skin, Christ suffers resignedly, almost turned inward. In 1972, the \u003cem\u003eFlagellazione\u003c/em\u003e of the San Domenico Maggiore church was transferred to the Museo di Capodimonte, the magnificent museum on the Capodimonte hill from where one can look out over Naples and its bay. In 1998/1999 it was thoroughly restored. Caravaggio\u0026#39;s athlete remains in perfect condition.\u003c/p\u003e\r\n\r\n\u003cp\u003eText: Danny Ilegems 2018\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eZijn naam was Michelangelo Merisi, maar men noemde hem \u003cstrong\u003eMichel Angelo da Caravaggio\u003c/strong\u003e. Caravaggio is het dorp op ruim 50 kilometer van Milaan waar Michelangelo Merisi zijn kinderjaren doorbracht. Hij was in 1571 in Milaan geboren, maar het gezin verhuisde in 1576 naar Caravaggio, op de vlucht voor de pest. In 1584, toen hij 13 was, keerde Michelangelo terug naar Milaan om in de leer te gaan bij de kunstschilder Simone Peterzano. In 1592 trok hij naar Rome.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAan het eind van de 16\u003csup\u003ede\u003c/sup\u003e eeuw was Rome een genadeloze religieuze dictatuur en een culturele boomtown. De contrareformatie was in volle gang, en de strategische wapens die daarbij werden ingezet waren repressie aan de ene kant, en propaganda aan de andere. Bloedige inquisitie en schone kunsten.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIn 1592, het jaar dat Caravaggio in Rome arriveerde, kwam paus Clemens VIII er net aan de macht. Die intensiveerde de terreur nog. Rome werd een sinistere politiestaat. \u0026ldquo;Er staan meer afgehakte hoofden op spiesen op de Engelenbrug, dan dat er meloenen te koop zijn op de markt\u0026rdquo;, was een populair gezegde in die tijd.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eOngeveer tezelfdertijd werd Rome op nooit geziene schaal verbouwd en herbouwd. De grote pleinen werden aangelegd en met elkaar verbonden, er verrezen meer dan vijftig nieuwe kerken, meer dan zestig grote palazzi en meer dan twintig monumentale villa\u0026rsquo;s.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eRome was \u0026rsquo;s werelds grootste beeldenfabriek: Hollywood aan de Tiber. Elke Europese kunstenaar, elke schilder, beeldhouwer of architect met ook maar een greintje ambitie, trok naar Rome. De propagandamachine van de kerk had kunst nodig, de stad had kunst nodig, en de oude en nieuwe rijken, de aristocraten, kardinalen en bankiers, hadden kunst nodig om elkaar te overbluffen in hun somptueuze palazzi.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIn de tweede helft van de 16\u003csup\u003ede\u003c/sup\u003e eeuw verdubbelde de bevolking van Rome. De pausen financierden de heropbouw van Rome namelijk door onmogelijk hoge belastingen te heffen op de landbouw in de omliggende gebieden. Landbouwcrisissen en hongersnoden waren het gevolg. Wanhopige boeren en werkloze soldaten-uit-vele-oorlogen vormden roversbendes en teisterden heel Itali\u0026euml;. In de straten van Rome kwamen ze allemaal samen: de nieuwe rijken en de havelozen, de geestelijken en de hoeren, de kunstenaars en de criminelen. Het nachtleven was turbulent. Er zijn historici die beweren dat de seksindustrie in die dagen de belangrijkste economische sector en de grootste werkgever van de stad was.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDat was de wereld waarin de jonge Michelangelo Merisi terechtkwam. Op zijn doeken portretteerde hij vrijwel uitsluitend zijn beste vrienden en vriendinnen, ook al omdat hij zich in die beginjaren geen professionele modellen kon permitteren. Die vrienden waren tevens zijn geprefereerd nachtelijk gezelschap. Velen van hen, inclusief Caravaggio zelf, werden meermaals door de politie opgepakt wegens verstoringen van de openbare orde, smaad, geweldpleging en verboden wapendracht.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIn weerwil van zijn reputatie van ongeleid projectiel, kwam de virtuoze Caravaggio al snel in de gunst van machtige beschermheren. Eerst in die van kardinaal Francesco Del Monte, de vertegenwoordiger van de Florentijnse familie de Medici\u0026rsquo; in Rome, en drie keer kandidaat-paus; daarna in die van Ciriaco Mattei, een vooraanstaande kunstverzamelaar wiens broer ook kardinaal was. Later was ook kardinaal Scipione Borghese, wiens oom Camillo in 1605 paus Paulus V werd, een liefhebber van zijn werk. Scipione Borghese bracht zijn enorme kunstcollectie onder in de Villa Borghese, waar ze vandaag nog altijd zes kapitale Caravaggio\u0026rsquo;s in huis hebben.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eCaravaggio woonde eerst in het Palazzo Madama van Del Monte, daarna in de Villa Mattei van de gebroeders Mattei: enorme paleizen in hartje stad, waar hij grote ateliers ter beschikking had. \u0026rsquo;s Nachts hing hij rond met zijn vrienden in de bars en osteria\u0026rsquo;s rond de Piazza Navona, of in de hoerententen in de Via Condotti.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIn 1600 forceerde hij zijn grote doorbraak. De roeping van Mattheus (1599-1600) en Het martelaarschap van Mattheus (1599-1600), de twee grote doeken die hij had gemaakt voor de San Luigi dei Francesi-kerk, recht over de deur van het Palazzo Madama waar hij woonde, deden alle monden openvallen. Zijn eerste \u0026lsquo;publieke\u0026rsquo; opdracht was een eclatant succes. Zelfde scenario een jaartje later, toen De bekering van Paulus en De kruisiging van Petrus (beiden 1600-01) in de Santa Maria del Popolo-kerk, aan de gelijknamige piazza, werden binnengebracht. Van toen af was hij officieel \u003cem\u003eegregius in Urbe pictor\u003c/em\u003e: uitmuntend schilder uit de stad Rome.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eOp het hoogtepunt van zijn roem ging het fout. Het was de avond van 28 mei 1606 toen Caravaggio op de Campo Marzio verwikkeld raakte in een zwaardduel met Ranuccio Tomassoni. Tomassoni was een lijfwacht, pooier en bendeleider die Caravaggio goed kende uit het nachtleven, en van diens relatie met Fillide Melandroni, de ravissante prostituee die hij vereeuwigde als Judith en als Maria Magdalena. Sommigen vermoeden dat een jaloerse Caravaggio Tomassoni probeerde te treffen in het kruis, om hem definitief buiten strijd te stellen als liefdesrivaal. Tomassoni werd geraakt in de dij, zeeg neer en bloedde dood. Caravaggio zelf liep een bijna fatale hoofdwonde op toen de broer van Tomassoni, een legerkapitein, zich in het gevecht mengde.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eZijn invloedrijke bewonderaars hielpen hem de stad uit. Caravaggio vluchtte naar Napels, daarna naar Malta, waar hij toetrad tot de gelijknamige ridderorde om er na een conflict snel weer uit te stappen, vervolgens naar Sicili\u0026euml; en tenslotte weer naar Napels. In Rome werd hij schuldig bevonden aan moord en bij verstek terdoodveroordeeld.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eCaravaggio\u0026rsquo;s hooggeplaatste vrienden bemiddelden ondertussen bij de paus om hem gratie te verlenen. In de zomer van 1610 leek dat verzoek eindelijk te worden ingewilligd. Prompt nam hij in Napels de boot naar Rome. Hij kwam er nooit aan. Hij zou op 18 juli 1610 op het strand van Porto Ercole zijn bezweken aan een combinatie van uitputting, een zonneslag en malaria.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e(Tekst: Danny Ilegems, 2018)\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":"\u003cp\u003eMichelangelo Merisi, qu\u0026rsquo;on l\u0026rsquo;appelait Michelangelo da Caravaggio est n\u0026eacute; \u0026agrave; Milan en 1571. Le village de Caravaggio o\u0026ugrave; il a pass\u0026eacute; une partie de son enfance et dont ses parents sont originaires se situe en Lombardie, \u0026agrave; quelque cinquante kilom\u0026egrave;tres de Milan. En 1576, sa famille fuit l\u0026rsquo;\u0026eacute;pid\u0026eacute;mie de peste qui s\u0026eacute;vit \u0026agrave; Milan et se r\u0026eacute;installe \u0026agrave; Caravaggio. En 1584, \u0026agrave; l\u0026rsquo;\u0026acirc;ge de 13\u0026nbsp;ans, il retourne \u0026agrave; Milan o\u0026ugrave; il int\u0026egrave;gre l\u0026rsquo;atelier du peintre Simone Peterzano comme apprenti. En 1592, il part pour Rome.\u003c/p\u003e\r\n\r\n\u003cp\u003eSi Rome est une dictature religieuse impitoyable \u0026agrave; la fin du XVI\u003csup\u003ee\u003c/sup\u003e\u0026nbsp;si\u0026egrave;cle, elle est aussi une ville qui conna\u0026icirc;t un prodigieux essor culturel. La Contre-R\u0026eacute;forme bat son plein et les armes strat\u0026eacute;giques engag\u0026eacute;es dans ce combat sont d\u0026rsquo;une part la r\u0026eacute;pression et d\u0026rsquo;autre part la propagande\u0026nbsp;; inquisition sanglante et beaux-arts.\u003c/p\u003e\r\n\r\n\u003cp\u003eEn janvier\u0026nbsp;1592, quelques mois avant l\u0026rsquo;arriv\u0026eacute;e du Caravage \u0026agrave; Rome, le pape Cl\u0026eacute;ment\u0026nbsp;VIII acc\u0026egrave;de au pouvoir. Celui-ci intensifie la terreur. Rome devient un sinistre \u0026Eacute;tat policier. \u0026laquo;\u0026nbsp;Sur le pont Saint-Ange, il y a plus de t\u0026ecirc;tes d\u0026eacute;capit\u0026eacute;es empal\u0026eacute;es sur des pieux que de melons \u0026agrave; vendre au march\u0026eacute;\u0026nbsp;\u0026raquo;, disait un dicton populaire de l\u0026rsquo;\u0026eacute;poque.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026Agrave; cette \u0026eacute;poque, Rome est reconstruite et r\u0026eacute;am\u0026eacute;nag\u0026eacute;e \u0026agrave; une \u0026eacute;chelle in\u0026eacute;gal\u0026eacute;e. On y construit de grandes places qu\u0026rsquo;on relie les unes aux autres, on y \u0026eacute;rige plus de cinquante \u0026eacute;glises, plus de soixante palazzi grandioses et plus de vingt villas monumentales.\u003c/p\u003e\r\n\r\n\u003cp\u003eRome devient la plus grande fabrique d\u0026rsquo;images au monde\u0026nbsp;: Hollywood au bord du Tibre. Chaque artiste europ\u0026eacute;en, chaque peintre, chaque sculpteur, chaque architecte avec un brin d\u0026rsquo;ambition se rend \u0026agrave; Rome. La machine de propagande de l\u0026rsquo;\u0026Eacute;glise a besoin d\u0026rsquo;art, la ville a besoin d\u0026rsquo;art, les nouveaux riches et les anciennes fortunes, les nobles, les cardinaux et les banquiers ont tous besoin d\u0026rsquo;art pour orner leurs palais somptueux et pour \u0026eacute;pater la galerie.\u003c/p\u003e\r\n\r\n\u003cp\u003eAu cours de la seconde moiti\u0026eacute; du XVI\u003csup\u003ee\u003c/sup\u003e\u0026nbsp;si\u0026egrave;cle, la population de Rome a doubl\u0026eacute;. Les papes financent sa reconstruction en levant des imp\u0026ocirc;ts \u0026eacute;crasant sur la ruralit\u0026eacute; environnante, avec pour cons\u0026eacute;quences des crises agricoles et des famines. Des paysans d\u0026eacute;sesp\u0026eacute;r\u0026eacute;s et des soldats d\u0026eacute;s\u0026oelig;uvr\u0026eacute;s apr\u0026egrave;s de multiples guerres se constituent en bandes organis\u0026eacute;es et op\u0026egrave;rent \u0026agrave; travers toute l\u0026rsquo;Italie. Tout ce petit monde se retrouve dans les rues de Rome\u0026nbsp;: nantis et mis\u0026eacute;reux, eccl\u0026eacute;siastiques et prostitu\u0026eacute;es, artistes et bandits. La vie nocturne y est turbulente. Certains historiens pr\u0026eacute;tendent que l\u0026rsquo;industrie du sexe \u0026eacute;tait le principal secteur \u0026eacute;conomique et le plus important pourvoyeur d\u0026rsquo;emplois de la ville.\u003c/p\u003e\r\n\r\n\u003cp\u003eTel est le monde dans lequel atterrit le jeune Michelangelo Merisi. Sur ses toiles, il repr\u0026eacute;sente quasi exclusivement ses amis et amies, ne pouvant pas se permettre de mod\u0026egrave;les dans les premi\u0026egrave;res ann\u0026eacute;es romaines. Son cercle de proches constitue d\u0026rsquo;ailleurs sa compagnie nocturne pr\u0026eacute;f\u0026eacute;r\u0026eacute;e. Bon nombre d\u0026rsquo;entre eux, y compris le Caravage lui-m\u0026ecirc;me, sont souvent arr\u0026ecirc;t\u0026eacute;s par la police pour trouble \u0026agrave; l\u0026rsquo;ordre public, outrage, actes de violence et port d\u0026rsquo;armes ill\u0026eacute;gal.\u003c/p\u003e\r\n\r\n\u003cp\u003eEn d\u0026eacute;pit de sa r\u0026eacute;putation de t\u0026ecirc;te br\u0026ucirc;l\u0026eacute;e, le virtuose Merisi obtient rapidement les faveurs de protecteurs puissants. \u0026Agrave; commencer par le cardinal Francesco Del Monte, le repr\u0026eacute;sentant \u0026agrave; Rome de la famille Medici de Florence et candidat \u0026agrave; la papaut\u0026eacute; \u0026agrave; trois reprises. Ensuite, il devient le prot\u0026eacute;g\u0026eacute; de Ciriaco Mattei, grand collectionneur d\u0026rsquo;art et fr\u0026egrave;re du cardinal Girolamo Mattei et puis celui du cardinal Scipion Borgh\u0026egrave;se, neveu du pape Paul\u0026nbsp;V \u0026eacute;lu en 1605. Scipion Borgh\u0026egrave;se a r\u0026eacute;uni son immense collection dans la Villa Borgh\u0026egrave;se, qui abrite \u0026agrave; ce jour six tableaux majeurs du Caravage.\u003c/p\u003e\r\n\r\n\u003cp\u003eLe Caravage habite d\u0026rsquo;abord au Palazzo Madama de Del Monte et plus tard \u0026agrave; la Villa Mattei des fr\u0026egrave;res du m\u0026ecirc;me nom, des palais gigantesques au c\u0026oelig;ur de la ville o\u0026ugrave; il dispose de tr\u0026egrave;s grands ateliers. La nuit, il s\u0026rsquo;en va retrouver ses amis dans les tavernes des alentours de la Piazza Navona ou dans les bordels de la Via dei Condotti.\u003c/p\u003e\r\n\r\n\u003cp\u003eSa grande perc\u0026eacute;e date de 1600, l\u0026rsquo;ann\u0026eacute;e o\u0026ugrave; les tableaux \u003cem\u003eLa Vocation de saint Matthieu\u003c/em\u003e et \u003cem\u003eLe Martyre de saint Matthieu\u003c/em\u003e (tous deux 1599-1600) r\u0026eacute;alis\u0026eacute;s pour l\u0026rsquo;\u0026eacute;glise Saint-Louis-des-Fran\u0026ccedil;ais, situ\u0026eacute;e juste en face du Palazzo Madama o\u0026ugrave; il s\u0026eacute;journe, laissent tout le monde bouche b\u0026eacute;e. Sa premi\u0026egrave;re commande \u0026laquo;\u0026nbsp;publique\u0026nbsp;\u0026raquo; lui vaut donc un succ\u0026egrave;s \u0026eacute;clatant. Le sc\u0026eacute;nario se r\u0026eacute;p\u0026egrave;te l\u0026rsquo;ann\u0026eacute;e suivante lorsque les tableaux \u003cem\u003eLa Conversion de saint Paul\u003c/em\u003e et \u003cem\u003eLe Crucifiement de saint Pierre\u003c/em\u003e (tous deux 1600-1601) entrent \u0026agrave; l\u0026rsquo;\u0026eacute;glise Santa Maria del Popolo, situ\u0026eacute;e sur la place du m\u0026ecirc;me nom. D\u0026egrave;s lors, il devient officiellement \u003cem\u003eegregius in Urbe pictor\u003c/em\u003e (le plus \u0026eacute;minent peintre de la ville).\u003c/p\u003e\r\n\r\n\u003cp\u003eLe Caravage est au sommet de sa gloire quand survient un incident fatidique\u0026nbsp;: le soir du 28\u0026nbsp;mai 1606, au Campo Marzio, le Caravage se m\u0026ecirc;le \u0026agrave; une bagarre et tue Ranuccio Tomassoni d\u0026rsquo;un coup d\u0026rsquo;\u0026eacute;p\u0026eacute;e. Tomassoni, gardien de l\u0026rsquo;ordre, spadassin, mais aussi prox\u0026eacute;n\u0026egrave;te et chef de bande, n\u0026rsquo;est pas un inconnu pour le Caravage. Il est l\u0026rsquo;amant de Fillide Melandroni, la ravissante courtisane et amie du Caravage qu\u0026rsquo;il a immortalis\u0026eacute;e en Judith et en Marie Madeleine. D\u0026rsquo;aucuns pr\u0026eacute;tendent que, jaloux, le Caravage a voulu toucher l\u0026rsquo;entrejambe de Tomassoni afin de mettre son rival hors jeu. Il blesse Tomassoni \u0026agrave; la cuisse, celui-ci s\u0026rsquo;\u0026eacute;croule et se vide de son sang. Lors de cette rixe, le fr\u0026egrave;re de Ranuccio, Giovan Francesco Tomassoni, un militaire, inflige au Caravage une blessure quasi fatale \u0026agrave; la t\u0026ecirc;te.\u003c/p\u003e\r\n\r\n\u003cp\u003eLes amis influents du Caravage l\u0026rsquo;aident \u0026agrave; quitter la ville. Il fuit vers Naples, puis \u0026agrave; Malte o\u0026ugrave; il est nomm\u0026eacute; chevalier de l\u0026rsquo;Ordre de Malte, mais en est radi\u0026eacute; peu de temps apr\u0026egrave;s s\u0026rsquo;\u0026ecirc;tre \u0026agrave; nouveau m\u0026ecirc;l\u0026eacute; \u0026agrave; une rixe. Il part pour la Sicile et retourne ensuite \u0026agrave; Naples. Entre-temps, il a \u0026eacute;t\u0026eacute; condamn\u0026eacute; \u0026agrave; mort par contumace \u0026agrave; Rome.\u003c/p\u003e\r\n\r\n\u003cp\u003eToujours par l\u0026rsquo;entremise de ses protecteurs influents, le pape semble finalement dispos\u0026eacute; \u0026agrave; lui accorder la gr\u0026acirc;ce au cours de l\u0026rsquo;\u0026eacute;t\u0026eacute;\u0026nbsp;1610. Il embarque aussit\u0026ocirc;t sur une felouque pour se rapprocher de Rome o\u0026ugrave; il n\u0026rsquo;arrivera cependant jamais. \u0026Eacute;puis\u0026eacute;, affaibli, il s\u0026rsquo;effondre sur la plage de Porto Ercole le 18\u0026nbsp;juillet\u0026nbsp;1610, et succombe \u0026agrave; une combinaison de faiblesse, d\u0026rsquo;un coup de chaleur et de la malaria.\u003c/p\u003e\r\n\r\n\u003cp\u003eTexte:\u0026nbsp;Danny Ilegems\u003cbr /\u003e\r\nTraduction: Isabelle Grynberg\u003c/p\u003e\r\n"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"locations":[]}