Latest news with #BaroqueArt
South China Morning Post
7 days ago
- Entertainment
- South China Morning Post
Caravaggio calling for summer 2025 visitors to Rome, at churches and in major exhibition
The Roman basilica of the Augustinians – Pope Leo's religious order – preserves an iconic painting of the Virgin Mary by Caravaggio, the blockbuster artist who revolutionised the use of light and dark in Western art. Advertisement Meanwhile, a new exhibition of works by the Baroque painter, 'Caravaggio 2025', is on view at the Palazzo Barberini in Rome until July 6, allowing for an updated look at his connection with spirituality. From the Pilgrims' Madonna at the Basilica of St Augustine to the Martyrdom of St Ursula that closes the 'Caravaggio 2025' exhibition, art historians and clergy are highlighting the connections between religious belief and Caravaggio's chiaroscuro technique. 'It's the light that directs us towards what for him are the key points of the story,' exhibition curator Francesca Cappelletti said about the artist's spotlight on the main characters that emerge from encroaching darkness. 'Our life experience makes sense only if invested by a spiritual light.' Detail of the Pilgrims' Madonna by Caravaggio displayed inside the Basilica of St Augustine in Rome. Photo: AP In the Augustinian Madonna, dating from the early 1600s, what hits the viewer at eye level are the dirty soles of a ragged pilgrim couple's feet as they kneel by the apparition of the Virgin Mary. She leans casually against a door frame as she holds a toddler-size Jesus.
Yahoo
25-05-2025
- Entertainment
- Yahoo
Artist Caravaggio's faith shines in new Rome exhibit and at churches run by Pope Leo XIV's order
ROME (AP) — The Roman basilica of the Augustinians — Pope Leo XIV's religious order — preserves an iconic painting of the Virgin Mary by Caravaggio, the blockbuster artist who revolutionized the use of light and darkness in Western art. A new exhibit of works by the Baroque painter is now on view in Rome until July 6, allowing for an updated look at his connection with spirituality. From the Pilgrims' Madonna at the Basilica of St. Augustine to the Martyrdom of St. Ursula that closes the 'Caravaggio 2025' exhibit, art historians and clergy are highlighting the connections between religious belief and Caravaggio's 'chiaroscuro." 'It's the light that directs us toward what for him are the key points of the story,' exhibit curator Francesca Cappelletti said about the artist's spotlight on the main characters that emerge from encroaching darkness. 'Our life experience makes sense only if invested by a spiritual light.' The Caravaggio Madonna at the Augustinians' Basilica In the Augustinian Madonna, dating from the early 1600s, what hits the viewer at eye level are the dirty soles of a ragged pilgrim couple's feet as they kneel by the apparition of the Virgin Mary. She leans casually against a door frame as she holds a toddler-size Jesus. It's a far cry from the usual otherworldly, genteel depictions of most Madonnas. That makes it even more poignant within Augustinian spirituality, because it illustrates the encounter between man's nature and God's mercy, said the Rev. Pasquale Cormio, the basilica's rector. 'We see God's wish to show himself to humankind as someone who walks alongside the poor,' Cormio said. 'It's certain that this Virgin Mary is close to a perhaps tired, perhaps wounded, certainly dirty humanity that is burdened by daily life.' The name of the Pilgrims' Madonna references not only the two figures before Mary, but also the fact that on this spot, the Augustinians have welcomed pilgrims en route to the nearby Vatican since the end of the 13th century. It was to commemorate a pilgrimage to Loreto — a shrine in central Italy where tradition says Mary's house was miraculously airlifted — that the painting's well-connected patrons commissioned it, said Alessandro Zuccari. A member of Italy's prestigious Accademia dei Lincei, he wrote the chapter on spirituality in the Caravaggio exhibit catalog. The spirituality of a rebel artist In fact, despite his adventurous life and bluntly realistic art, Caravaggio worked for prestigious, pious patrons, including a cardinal, and is documented to have participated in Catholic rites including Eucharistic adoration, Zuccari added. That hardly fits the reputation for a transgressive 'accursed artist' that Caravaggio — whose full name was Michelangelo Merisi — accrued over the centuries. 'We don't know what Caravaggio thought, because he left no writings,' Zuccari said. 'I'm convinced, as are other experts, that Caravaggio has his own spirituality.' Out of about 70 paintings by Caravaggio, more than 50 represent saints or Biblical scenes — even those destined for private collections, not churches, he added. Religious themes across Caravaggio's work at new exhibit Some of the best-known are among the two dozen paintings on view at Palazzo Barberini, covering the time from Caravaggio's arrival in Rome around 1595 to his death in 1610. They include works on loan from Dublin to Kansas City. There's Caravaggio's first religious painting, St. Francis of Assisi, who's depicted in an angel's arms while one of his early companions, Brother Leo, is barely visible in the surrounding darkness. It's an early example of those 'oscuri gagliardi' — a bold darkness, as a 17th century art critic quoted in an exhibit panel put it. 'Gagliardo' is a slang word Romans still use today to mean everything from panini to people with a special flair and power. Two other religious paintings with the same innovative use of light and darkness take a gruesome turn. In Judith Beheading Holofernes, the Jewish hero frowns in seeming disgust at the blood spurting from his neck. In David with the Head of Goliath, the dripping severed head is a self-portrait. In what's probably the artist's last painting before dying at age 39, and the last exhibited in the new show, Caravaggio also portrayed himself. He's the man peeking, stunned and openmouthed, from the darkness at the soldier who's just shot an arrow into St. Ursula's chest. More of Caravaggio's religious paintings are in chapels downtown Rome. The Conversion of Saul, an early version of which is in the exhibit, and the Crucifixion of Peter are in Santa Maria del Popolo, also an Augustinian community. Three paintings about St. Matthew are in San Luigi dei Francesi church. Two blocks away, back at St. Augustine's, pilgrims and tourists continue to flock to see Caravaggio and other artwork. For Cormio, welcoming them is a chance to encourage Augustinian spirituality. 'Augustine also left us this teaching — that through the beauty of creation and the beauty of human works, too, we can capture something of the beauty of God,' he said. ___ Associated Press religion coverage receives support through the AP's collaboration with The Conversation US, with funding from Lilly Endowment Inc. The AP is solely responsible for this content. Giovanna Dell'orto, The Associated Press
The Independent
25-05-2025
- Entertainment
- The Independent
Artist Caravaggio's faith shines in new Rome exhibit and at churches run by Pope Leo XIV's order
The Roman basilica of the Augustinians — Pope Leo XIV's religious order — preserves an iconic painting of the Virgin Mary by Caravaggio, the blockbuster artist who revolutionized the use of light and darkness in Western art. A new exhibit of works by the Baroque painter is now on view in Rome until July 6, allowing for an updated look at his connection with spirituality. From the Pilgrims' Madonna at the Basilica of St. Augustine to the Martyrdom of St. Ursula that closes the 'Caravaggio 2025' exhibit, art historians and clergy are highlighting the connections between religious belief and Caravaggio's 'chiaroscuro." 'It's the light that directs us toward what for him are the key points of the story,' exhibit curator Francesca Cappelletti said about the artist's spotlight on the main characters that emerge from encroaching darkness. 'Our life experience makes sense only if invested by a spiritual light.' The Caravaggio Madonna at the Augustinians' Basilica In the Augustinian Madonna, dating from the early 1600s, what hits the viewer at eye level are the dirty soles of a ragged pilgrim couple's feet as they kneel by the apparition of the Virgin Mary. She leans casually against a door frame as she holds a toddler-size Jesus. It's a far cry from the usual otherworldly, genteel depictions of most Madonnas. That makes it even more poignant within Augustinian spirituality, because it illustrates the encounter between man's nature and God's mercy, said the Rev. Pasquale Cormio, the basilica's rector. 'We see God's wish to show himself to humankind as someone who walks alongside the poor,' Cormio said. 'It's certain that this Virgin Mary is close to a perhaps tired, perhaps wounded, certainly dirty humanity that is burdened by daily life.' The name of the Pilgrims' Madonna references not only the two figures before Mary, but also the fact that on this spot, the Augustinians have welcomed pilgrims en route to the nearby Vatican since the end of the 13th century. It was to commemorate a pilgrimage to Loreto — a shrine in central Italy where tradition says Mary's house was miraculously airlifted — that the painting's well-connected patrons commissioned it, said Alessandro Zuccari. A member of Italy's prestigious Accademia dei Lincei, he wrote the chapter on spirituality in the Caravaggio exhibit catalog. The spirituality of a rebel artist In fact, despite his adventurous life and bluntly realistic art, Caravaggio worked for prestigious, pious patrons, including a cardinal, and is documented to have participated in Catholic rites including Eucharistic adoration, Zuccari added. That hardly fits the reputation for a transgressive 'accursed artist' that Caravaggio — whose full name was Michelangelo Merisi — accrued over the centuries. 'We don't know what Caravaggio thought, because he left no writings,' Zuccari said. 'I'm convinced, as are other experts, that Caravaggio has his own spirituality.' Out of about 70 paintings by Caravaggio, more than 50 represent saints or Biblical scenes — even those destined for private collections, not churches, he added. Religious themes across Caravaggio's work at new exhibit Some of the best-known are among the two dozen paintings on view at Palazzo Barberini, covering the time from Caravaggio's arrival in Rome around 1595 to his death in 1610. They include works on loan from Dublin to Kansas City. There's Caravaggio's first religious painting, St. Francis of Assisi, who's depicted in an angel's arms while one of his early companions, Brother Leo, is barely visible in the surrounding darkness. It's an early example of those 'oscuri gagliardi' — a bold darkness, as a 17th century art critic quoted in an exhibit panel put it. 'Gagliardo' is a slang word Romans still use today to mean everything from panini to people with a special flair and power. Two other religious paintings with the same innovative use of light and darkness take a gruesome turn. In Judith Beheading Holofernes, the Jewish hero frowns in seeming disgust at the blood spurting from his neck. In David with the Head of Goliath, the dripping severed head is a self-portrait. In what's probably the artist's last painting before dying at age 39, and the last exhibited in the new show, Caravaggio also portrayed himself. He's the man peeking, stunned and openmouthed, from the darkness at the soldier who's just shot an arrow into St. Ursula's chest. More of Caravaggio's religious paintings are in chapels downtown Rome. The Conversion of Saul, an early version of which is in the exhibit, and the Crucifixion of Peter are in Santa Maria del Popolo, also an Augustinian community. Three paintings about St. Matthew are in San Luigi dei Francesi church. Two blocks away, back at St. Augustine's, pilgrims and tourists continue to flock to see Caravaggio and other artwork. For Cormio, welcoming them is a chance to encourage Augustinian spirituality. 'Augustine also left us this teaching — that through the beauty of creation and the beauty of human works, too, we can capture something of the beauty of God,' he said. ___ Associated Press religion coverage receives support through the AP's collaboration with The Conversation US, with funding from Lilly Endowment Inc. The AP is solely responsible for this content.
Associated Press
25-05-2025
- Entertainment
- Associated Press
Artist Caravaggio's faith shines in new Rome exhibit and at churches run by Pope Leo XIV's order
ROME (AP) — The Roman basilica of the Augustinians — Pope Leo XIV's religious order — preserves an iconic painting of the Virgin Mary by Caravaggio, the blockbuster artist who revolutionized the use of light and darkness in Western art. A new exhibit of works by the Baroque painter is now on view in Rome until July 6, allowing for an updated look at his connection with spirituality. From the Pilgrims' Madonna at the Basilica of St. Augustine to the Martyrdom of St. Ursula that closes the 'Caravaggio 2025' exhibit, art historians and clergy are highlighting the connections between religious belief and Caravaggio's 'chiaroscuro.' 'It's the light that directs us toward what for him are the key points of the story,' exhibit curator Francesca Cappelletti said about the artist's spotlight on the main characters that emerge from encroaching darkness. 'Our life experience makes sense only if invested by a spiritual light.' The Caravaggio Madonna at the Augustinians' Basilica In the Augustinian Madonna, dating from the early 1600s, what hits the viewer at eye level are the dirty soles of a ragged pilgrim couple's feet as they kneel by the apparition of the Virgin Mary. She leans casually against a door frame as she holds a toddler-size Jesus. It's a far cry from the usual otherworldly, genteel depictions of most Madonnas. That makes it even more poignant within Augustinian spirituality, because it illustrates the encounter between man's nature and God's mercy, said the Rev. Pasquale Cormio, the basilica's rector. 'We see God's wish to show himself to humankind as someone who walks alongside the poor,' Cormio said. 'It's certain that this Virgin Mary is close to a perhaps tired, perhaps wounded, certainly dirty humanity that is burdened by daily life.' The name of the Pilgrims' Madonna references not only the two figures before Mary, but also the fact that on this spot, the Augustinians have welcomed pilgrims en route to the nearby Vatican since the end of the 13th century. It was to commemorate a pilgrimage to Loreto — a shrine in central Italy where tradition says Mary's house was miraculously airlifted — that the painting's well-connected patrons commissioned it, said Alessandro Zuccari. A member of Italy's prestigious Accademia dei Lincei, he wrote the chapter on spirituality in the Caravaggio exhibit catalog. The spirituality of a rebel artist In fact, despite his adventurous life and bluntly realistic art, Caravaggio worked for prestigious, pious patrons, including a cardinal, and is documented to have participated in Catholic rites including Eucharistic adoration, Zuccari added. That hardly fits the reputation for a transgressive 'accursed artist' that Caravaggio — whose full name was Michelangelo Merisi — accrued over the centuries. 'We don't know what Caravaggio thought, because he left no writings,' Zuccari said. 'I'm convinced, as are other experts, that Caravaggio has his own spirituality.' Out of about 70 paintings by Caravaggio, more than 50 represent saints or Biblical scenes — even those destined for private collections, not churches, he added. Religious themes across Caravaggio's work at new exhibit Some of the best-known are among the two dozen paintings on view at Palazzo Barberini, covering the time from Caravaggio's arrival in Rome around 1595 to his death in 1610. They include works on loan from Dublin to Kansas City. There's Caravaggio's first religious painting, St. Francis of Assisi, who's depicted in an angel's arms while one of his early companions, Brother Leo, is barely visible in the surrounding darkness. It's an early example of those 'oscuri gagliardi' — a bold darkness, as a 17th century art critic quoted in an exhibit panel put it. 'Gagliardo' is a slang word Romans still use today to mean everything from panini to people with a special flair and power. Two other religious paintings with the same innovative use of light and darkness take a gruesome turn. In Judith Beheading Holofernes, the Jewish hero frowns in seeming disgust at the blood spurting from his neck. In David with the Head of Goliath, the dripping severed head is a self-portrait. In what's probably the artist's last painting before dying at age 39, and the last exhibited in the new show, Caravaggio also portrayed himself. He's the man peeking, stunned and openmouthed, from the darkness at the soldier who's just shot an arrow into St. Ursula's chest. More of Caravaggio's religious paintings are in chapels downtown Rome. The Conversion of Saul, an early version of which is in the exhibit, and the Crucifixion of Peter are in Santa Maria del Popolo, also an Augustinian community. Three paintings about St. Matthew are in San Luigi dei Francesi church. Two blocks away, back at St. Augustine's, pilgrims and tourists continue to flock to see Caravaggio and other artwork. For Cormio, welcoming them is a chance to encourage Augustinian spirituality. 'Augustine also left us this teaching — that through the beauty of creation and the beauty of human works, too, we can capture something of the beauty of God,' he said. ___ Associated Press religion coverage receives support through the AP's collaboration with The Conversation US, with funding from Lilly Endowment Inc. The AP is solely responsible for this content.
Telegraph
17-05-2025
- Entertainment
- Telegraph
Sacred Mysteries: The flaming heart of Pope Leo's spirituality
I very much like a picture painted in about 1650 by Philippe de Champaigne. It shows a bare-headed bishop in an extravagant cope (echoing the cope of St Augustine in El Greco's Burial of the Count of Orgaz, from 70 years earlier). He sits, pen poised in the air, looking up at a ray of light from an incandescent cloud labelled Veritas, Truth. His left hand holds a human heart on fire, its flames drawn, as if by a draught, towards his head. It's a very Baroque painting. This too is St Augustine of Hippo (354-430), a huge influence on Western Christianity. A flaming heart features on the coat of arms of Pope Leo, whose life has been as an Augustinian missionary. Here the heart is pierced with an arrow. That image illustrates part of Augustine's incomparable autobiography, the Confessions (10: 6): Vulnerasti cor meum verbo tuo – 'You have pierced my heart with your Word.' My Loeb edition has percussisti, 'struck' not 'pierced', but with the same effect: 'And I have loved you.' 'But what then is it that I love when I love thee?' asked Augustine, in Richard Challoner's translation from 1739. 'Neither the Beauty of the Body, nor the graceful Order of Time, nor the Brightness of Light, so agreeable to these Eyes, nor the sweet Melody of all Sorts of Musick, nor the fragrant Scents of Flowers, Oils and Spices, nor the sweet Taste of Manna or Honey, nor fair Limbs alluring to carnal Embraces. None of these Things do I love, when I love my God. And yet I love a certain Light, and a certain Voice, and a certain Fragrancy, and a certain Food, and a certain Embrace, when I love my God: the Light, the Voice, the Fragrancy, the Food, and the Embrace of my inward Man.' So he goes on, in his questioning, gradual way. Pope Leo has simply adjusted the coat of arms which as a bishop he was expected to have. I don't want to go on about heraldry, which can be offputting in its technicality, but, as in stage directions, left and right are accounted from the shield-holder's point of view, so dexter is on the left from the spectator's viewpoint, and sinister on the right. The Pope's shield is divided party per bend sinister, as I think heralds would say, split diagonally from the sinister top corner. In the upper, azure part, an argent fleur-de-lys stands for the Virgin Mary. Pope John Paul II had the letter M with the same function, which some held to be less heraldically correct. The motto under the shield is In Illo uno unum, 'In the One, we are one.' The phrase is taken from St Augustine's Expositions on the Psalms, commenting on Psalm 127 (128 in the Book of Common Prayer) and explaining that 'although we Christians are many, in the one Christ we are one', a sentence based on St Paul's Epistle to the Romans (12:5). 'How are we many, and yet one?' asks Augustine. 'Because we cling unto him whose members we are; and since our Head is in heaven, his members may follow.' All this might sound a bit arbitrary, but Pope Leo's personal spirituality is an Augustinian approach to Jesus Christ, the centre and goal of Christianity. Pope Benedict XVI shared this Augustinian outlook. Implicitly all Latin-rite, Anglican or Nonconformist Christians do. Interpreting Augustine left divisions too. Philippe de Champaigne's daughter joined Port Royal convent in Paris, which developed Jansenist habits of thought and piety. He painted a moving picture of her sitting on a not very comfortable chair, cured from paralysis.
