Latest news with #Caravaggio
Wall Street Journal
a day ago
- Wall Street Journal
A Savvy Travelers Guide to Italy's Other Great Art City
Art-loving visitors to Italy tend to follow a well-trodden path through Rome and Florence. But during high season, lines at the Vatican and the Uffizi Galleries can be punishingly long. By the time you finally catch a glimpse of Caravaggio's 'Bacchus,' you might be in need of a drink yourself. There is an alternative. The grand port city of Naples—though best known now for pizza, the mafia and as a launching place for passengers to Capri and the Amalfi coast—has also been a Mediterranean cultural mecca for millennia, back to the days of the ancients. A mere day trip away, you can find historic treasures in the ruins of Pompeii, whose lavishly decorated villas were preserved when neighboring Mount Vesuvius erupted in 79 A.D.—a brilliant snapshot of ancient Roman artistic refinement and taste. Nearly 2,000 years later, Naples' own surviving masterpieces still thrill. Founded in 470 B.C., it is among Europe's oldest cities, and by the 17th century, was a hotbed of artistic activity, home to painters like Caravaggio, José de Ribera and Artemisia Gentileschi. That Baroque legacy is still palpable. On a recent trip, I went in search of 'Baroque Naples,' having studied that iteration of the city in college art history classes. But once I was on the ground, it soon became clear that Naples' wonders exceed any one artistic moment. Looking down across the city and sea from my first stop, the hilltop Museo di San Martino, I immediately saw the appeal of Naples, both glorious and gritty. White sailboats dotted the bay and clusters of drab apartment towers, draped in drying laundry, climbed the inland hillsides. In between, the city spread like a carpet toward the slopes of Vesuvius in the distance. A former Carthusian monastery, San Martino is replete with treasures. What struck me most were the luxurious personal quarters of the prior, with their colored marble floors and frescoed walls and ceilings. The pope's private Vatican chambers aren't open to the public, but they certainly don't have a sea view. The city's golden age dawned in 1734 when Naples and Sicily became an independent kingdom under King Charles of Bourbon, a great-grandson of Louis XIV of France. Charles launched an immense building program, whose legacy includes royal palaces adorned with the vast art collection his mother bequeathed him. Charles also greenlighted the excavations at Pompeii and Herculaneum and built one of Europe's first opera houses, the Teatro San Carlo, in just eight months. 'Naples doesn't really do small,' explained Sylvain Bellenger, former director of the Museo di Capodimonte, a museum housed in a massive pink and gray palace that is just one of three built by Charles in and around Naples. (Another, Reggia di Caserta, is a Unesco World Heritage site just 30 minutes outside the city.) Even larger than the Uffizi Galleries in Florence, the Museo di Capodimonte is currently undergoing renovations—but still has 50 galleries containing enough masterpieces by the likes of Masaccio, Raphael, Michelangelo, Titian and Correggio to merit repeat visits. When the other galleries reopen this fall, visitors might be surprised to discover pieces by Louise Bourgeois, Andy Warhol and Candida Höfer, many referencing either Naples in general or the Capodimonte in particular. Should you choose, like me, not to venture to Pompeii, the Museo Archeologico Nazionale di Napoli ably scratches an itch for antiquity. Three floors of classical sculptures are chockablock with artifacts, including the famous Farnese Hercules, acres of elaborate Roman mosaic floors and delicately painted walls brought from Herculaneum and Pompeii. One irreverent surprise: A small gallery of erotic sculptures and ancient sexual aids. (Prudes and parents, fear not: There's a warning at the entrance.) Among other niche museums worth a stop is the Museo Nazionale della Ceramica Duca di Martina, in the lush gardens of the Villa Floridiana. And the Gallerie d'Italia, whose collection ranges from the 17th century to the first decades of the 20th, has been newly installed in the circa-1940 Banco di Napoli, a boldly muscular (read: Fascist) celebration of classical architecture. Eager to check a duomo off your list? Naples has one, too. In its San Gennaro chapel's splendid treasury, a new curator is fond of mixing modern art amid the saintly relics. A show of contemporary ex-votos (on view through Sept. 30) features diminutive devotional works by artists such as Mimmo Paladino, Igor Mitoraj and Yves Klein. It occurred to me inside that I'd never seen more people conversing out loud and in public with religious paintings and sculptures than I did in Naples. Even in the offseason, visitors will want to pre-book tickets for smaller private chapels such as Sansevero, with its haunting suite of Baroque sculpture including 'The Veiled Christ' in which artist Giuseppe Sanmartino somehow summons a transparent veil out of marble. Also worth a stop: the tiny Pio Monte della Misericordia, where Caravaggio's iconic 'Seven Acts of Mercy' looms large over the high altar. In the 1990s, the city launched Le Stazioni dell'Arte, an ambitious, ongoing public art project to transform its metro stations in partnership with architects and designers like Karim Rashid and Òscar Tusquets. Since 2012, the arts foundation Made in Cloister, has provided work and exhibition spaces to promote contemporary Neapolitan artists in a 16th-century monastery that was most recently a carwash. More recently, London art dealer Thomas Dane opened his first international branch gallery in a chicly renovated 19th-century palazzo in Chiaia. 'I never expected to open [satellite] galleries,' he said. 'But…it struck me that if there was one city where artists would want to spend more time and explore, it was Naples.'
The Star
2 days ago
- Entertainment
- The Star
Italian master Caravaggio's faith shines in new Rome exhibition
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 revolutionised 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.' 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.' A general view of the Basilica of St Augustine in Rome where Caravaggio's 'Pilgrims' Madonna' is located. Photo: AP 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 catalogue. 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. 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. A view of Caravaggio's 'Portrait of Francesco Barberini' at the Vatican's 'Codex' exhibit of art and manuscripts. Photo: AP 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 J udith 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. - AP
Buzz Feed
3 days ago
- Buzz Feed
Perfect European Island Getaway For LGBTQ+ Travel
30 years ago, people would have spoken about 2025 being a progressive haven where they could be themselves and love themselves without any fear of prejudice or repercussions. Unfortunately, every day, it seems we take big steps back. So what does that mean for travel? According to the LGBTQ+ edition of the Expedia Summer Travel Outlook, LGBTQ+ travellers take at least 3 trips annually, and that must be true because I travel A LOT! I make it a goal to be out of the country every six weeks if possible. However, I often find myself returning to the same locations because, although I love to explore, I also want to feel safe. Traveling to a new location can already be stressful without having to worry about being shunned or, worse, attacked for my skin tone or queer identity. One place I've visited repeatedly that always makes me feel at home is Malta. Popularly known for its amazing filming locations – Gladiator, Game of Thrones, etc. – and historic landmarks like the Ġgantija Temples, Malta has quickly become one of my favourite places to travel in Europe. Yes, it has an incredible food scene, but also for how accepting the country is of LGBTQ+ travellers. So here are my recommendations for you and your chosen family if you want to visit the great island: According to the ILGA-Europe Rainbow Map 2024, Malta has been named the most LGBTQ+ inclusive country in Europe for nine consecutive years. Location is everything. Malta is a small island that might deceptively lead you to believe you can stay anywhere, but you would be wrong. The best places to stay as a tourist are St. Julian's, Valletta, or Sliema. Everything is just a bus ride away in these locations, or a simple hop on a ferry to the surrounding smaller islands. Hotels I would recommend for LGBTQ+ travellers in these locations are The Hilton and The Westin Dragonara, as their staff are trained in how to treat and respect individuals from all walks of life. Make time for a beach day. Malta is full of gorgeous rock pools that might make you think there are no real beaches around, but don't be fooled. Away from the main locations, there are beautiful beaches that will take your breath away. Golden Bay Beach is perfect for LGBTQ+ travellers, and it's not too far from the historic landmark Għajn Tuffieħa Tower if you want to add a touch of culture to your beach day. Book things in advance. Just because it's a small island does not mean the queues are small too; always book in advance. Malta has incredible artworks, such as St. John's Co-Cathedral in Valletta, home to an iconic Caravaggio painting. Structures like these attract a lot of people, leading to long queues. However, if you book your tickets online, you can skip right to the front, which will help you avoid the intense Maltese heat. Explore the surrounding islands. There's so much to do in Malta that you might think you can skip the ferry to places like Gozo... don't. Gozo is home to one of the most historic landmarks in the world, the Ġgantija Temples. The Ġgantija Temples are even older than the Pyramids in Egypt. Dating back to 3600 BC, this UNESCO-listed structure must be seen to be believed. And of According to the 2025 LGBTQ+ edition of the Summer Travel Outlook, LGBTQ+ travellers put good eats over everything else, and Malta will not disappoint those needs. The Maltese kitchen feels like home. Due to its location and history, Malta has a great blend of Italian, Arabic, British, and North African cuisine – basically, all the countries that know how to make a hearty home-cooked meal that will make you miss your grandma. Here are my favourite restaurants that are great for LGBTQ+ travellers: Osteria Donna Carmela: incredible Italian kitchen with some of the best views in all of St Julians, so make sure you ask for a table outside!Toro Toro: guided by the legendary chef Richard Sandoval, Toro Toro brings the vibrancy of South American cuisine to a little island in the Buoys: Two Buoys is an LGBTQ+ owned restaurant in the heart of St Julians that brings a little taste of Down Under to Malta, perfect for any time of the Mondion: You always have a night to treat yourself on holiday, so why not do it with a Michelin star restaurant De Mondion, based in the extremely beautiful Mdina. Add Malta to your European travel list today – you won't be disappointed.
South China Morning Post
4 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.
Nahar Net
4 days ago
- Entertainment
- Nahar Net
Caravaggio's faith shines in new Rome exhibit and at churches run by Pope's order
by Naharnet Newsdesk 27 May 2025, 15:15 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.
