Power of Art- Caravaggio

Here in NZ a new series by Simon Schama on the 'Power of Art' is now running Sunday nights.

I want to use tis for my own reflection as one who enjoys art.

Week one was on Caravaggio (1571-1610)
Schama is a narrator to the life and paintings of Caravaggio that invites you into the paintings of a man who was deeply disturbed and troubled in himself. In many ways painting became a means of confession and a reckoning. Schama gives focus to his painting of David with the head of Goliath. Notably, Goliath is painted in the image of Caravaggio.

Schama says,

"In this painting of the victory of virtue over evil it's supposed to be David who is the centre of attention, but have you ever seen a less jubilant victory?
On his sword is inscribed "Humilitus Occideit Superbium", that is, humility conquers pride. This is the battle that has been fought out inside Caravaggio's head between the two sides of the painter that are portrayed here.

For me the power of Caravaggio's art is the power of truth, not least about ourselves. If we are ever to hope for redemption we have to begin with the recognition that in all of us the Goliath competes with the David."

Schama also points out the ways in which Caravaggio paints the fleshly humanity he knows, the earthy-ness of humanity he portrays in so many religious artwork he paints.

For me I have always appreciated his Supper at Emmaus. But there are 2 versions: on in London (1601) the other in Milan (1606).

In the first (London) the image is full of rich, victorious splendour. The light throughout the paiting, the shadows created help our eyes 'read' the painting. Jesus is portrayed without a beard which is quite unusual. His hand gesture appears soft and gentlein blessing. Indeed it almost reaches out to us.There is also a full table of food before them . The intensity of the emotions of Christ's disciples is conveyed by their gestures and expression at this moment in time (of recognition) when Jesus is blessing their meal. We are made to feel a participant in the event from the perspective we are permitted at the table. The painting in so inviting us asks us to consider what the resurrection of Christ means for us.

Some 5 years later though and the image has changed. Is there a shift in Caravaggio’s understanding of the resurrection of Jesus? The arrangement of the figures tells the story. No more the victorious Christ, nor the energy of the disciples recognition of who this 'stranger' is. In contrast, the arrangement of the figures in the Milan Emmaus makes us aware that people need time to recognise the reality of Jesus at this table and so the resurrection. The light here is more subtle and subdued, indeed here is an older, bearded Jesus blessing the meal and a different pace of recognition conveyed. Here the disciples hand rests near Jesus' hand, no large gestures. I sense here a quiter and gentler invitation to come share at this table at a meal that is far simpler too.