Scicli – The portray exhibited in Ragusa, within the church of Badia, isn’t by Michelangelo Merisi, often known as Caravaggio. There isn’t a doubt Vittorio Sgarbi, who wrote an article on the topic within the Panorama weekly, publishing an interview with Video Regione on Saturday night throughout his presence in Scicli.
So Sgarbi on Panorama: “Stimulated by the insistent Caravaggesian conates of Ragusa, who signify within the church of Badia” the misleading “San Giovannino”. Gregori and the proficient restorer Roberta Lapucci, in whose studio I noticed the portray for the primary time. in Munich.
I mentioned from the primary day I noticed this portray exhibited in Camaiore that I might not write about it, truly no essay of mine. I did an article through which I discovered the work very fascinating, and as with different works by Caravaggio – 9 from Maddalena, ten from San Francesco – two variations of it are identified. We see fascinating work for analysis, as a result of it testifies to Caravaggio’s invention. The recipe comes from Caravaggio. The artist’s hand is just like the hand of a tailor, a prepare dinner. Right here we’re coping with a derivation of a piece by Caravaggio, presumably a misplaced one, whose existence we have no idea, and the prepare dinner who made it isn’t a Caravaggio.
I adopted the logic of the misplaced unique precept. However I used to be unsuitable as a result of, if not in copy, I might by no means seen an instance of Monaco dwell. And I consider that solely a comparability, up shut or far, can enable some judgment. It might be the most effective situation, additionally for Ragus’ exhibition, to check the 2 photos. This chance touched only some students who confronted each.
Subsequently, I assumed that one also needs to check out the Munich portray.
Caravaggio, St. John the Baptist (Saint John the Mendacity) a monk
beginning with the statement of the identical who spoke in favor of the “San Giovannino” staged in Ragusa:
St. Jana, Malta
Mina Gregori and Roberta Lapucci.
He was the primary to jot down after seeing it within the Nineteen Eighties:
“Numerous rigorous arguments enable the ‘San Giovannino’ examined right here to be referred again to Caravaggio. I’ve identified this work for a few years and from the start thought-about it an amazing Lombard. The depiction of the reclining saint is uncommon in conventional iconography and suggests the painter’s intention to raise the determine of a younger man, partially wrapped in elegant crimson material, with significantly cautious folds, to acquire elegant cadences differently than the formalists of the sixteenth century. Opposite to this exhibition, the physique of the younger man seems in alternating lights and shadows that spotlight or conceal it … to what will be seen within the “San Giovanni Battista” of the Borghese Gallery, the acclaimed late work of the Lombard painter. The significance of the portray as an unique by Caravaggio is evidenced by the statement that the place of the fitting hand was assumed by the Spanish painter Juan Bautista Maino, who stayed in Rome within the first decade of the seventeenth century. In 1611 he returned to his homeland. As a part of Spanish portray of the early seventeenth century, Maino seems as a Spanish follower of Caravaggio. His relationship with the Italian grasp is clear and confirms this portray belonging to a personal assortment. The acquisition of “San Giovanni Battista disteso” is a vital addition to the catalog of Caravaggio’s works “
The second, within the 1991 information sheet, pertains to the renovation carried out by Pico Cellini in 1977-1978, the outcomes of which have been printed within the monograph ‘Michelangelo Merisi da Caravaggio. Pictor Praestantissimus ”by Maurizio Marini, printed in 1987, convincingly concludes:
“On the fringe of the crimson material operating beneath the saint’s physique, there are great strokes of white lead (lengthy and agency); they current shut analogies of the executions with the autumn of the Borghese fabric “San Gerolamo” and the “Resurrection of Lazzaro” from Messina. The saint’s poses are very harking back to the Virgin of the “Nativity” of Messina … Within the facial particulars you’ll be able to see that the brow was uncovered after which hidden beneath a mane of hair. It is a characteristic that emerged from the radiographic and reflexographic examinations of the faces of San Giovanni Battista on the Corsini Gallery in Rome.
The report by Carlo Giantomassi and Donatella Zari helps this reconstruction and diagnostic exercise:
“Typical for Caravaggio is the development of the characters with displacements (which embrace, as Marini rightly factors out, the left forearm) and corrections. The fingers of the left hand are elongated: how can we miss out on that the palms are nearly an identical to these of San Giovannino Borghese, with very tapering fingers, nearly unnaturally elongated; and that the arm, in all probability touched by regret, because the painter could have considered the sting of the lambskin, has a peculiar deformation additionally seen within the portray within the Borghese Gallery? additionally the pointed knee and the unusually elongated proper foot seem very near these of the Borghese canvas, whereas the physiognomic options point out that it’s the similar mannequin. What painter, if not Caravaggio himself, might depict or bear in mind the identical mannequin utilizing the identical uncommon preparation? “
These in-depth and difficult statements are framed by positions that favor the autographs of Caravagges by Michael Stoughton (1987), John T. Spike (1988), Stephen Pepper (1988), Vincenzo Pacelli (1991), Leonard J. Slatkes (1992). ), Federico Zeri (1998), Peter Robb (1998), Claudio Strinati, Rossella Vodret (1999), Gabriele Finaldi (2009), Bert Treffers (2010), Fabio Scaletti (2014), Sergio Benedetti (2018), Sergio Rossi ( 2022).
The latter within the essay “Caravaggio within the Mirror Between Salvation and Damnation” issues me:
“The work, as Vittorio Sgarbi wrote for Ecce Homo in Madrid, is attributed to itself, such is its visible significance, and for the reason that blood-red cloak of the Baptist resembles the fabric that covers the toes of the saint within the” minimize “in Valletta, to the garment The Virgin within the “Adoration of the Shepherds” in Messina, to the tablecloth of one other “San Giovannino” (or “Pastor friso”) of the Capitoline Museums, and at last to the Sant’Orsola mantle of up to date portray, now within the Palazzo Zevallos-Stigliano in Naples and is a form of undoubted signature the final Caravaggio. “
Some, just like the Treffers, have gone as far as to publish San Giovannino on the covers of their research. Anyway, these things made me come again to see my favourite model of Monaco.
At first look, the plastic qualities and the chromatic vividness of the crimson material verify Rossi’s phrases. So the lunar naturalism of the bare components. The presence of vegetation on the backside can also be fascinating to revive the true nature of the surroundings.
Nor does it have in mind, in relation to the Ragusa model, the reference to the cross on the foot of the determine as described within the Medici stock of 1691, a nondescript purpose, since “toes” might not be taken actually, however as “Earth”.
Finally, my skepticism about each variations will be corrected by the idea that the Munich “San Giovannino” is the unique Caravaggesque. For the much less studied specimen exhibited at Ragusa, we’re awaiting the concrete and dialectical outcomes of the Symposium that may enable curator Pierluigi Carofano to make a last evaluation, as soon as he has obtained the preconditions for different Caravaggio students at the moment in hiding. ‘
Vittorio SGARBI Rome 5 June 2022