The Blinding Baroque

Glendon Jeffery

Introduction

The 1600s witnessed the emergence of a revolutionary art style, later known as Baroque. Among the various factors that characterized this style, the most significant was the use of lighting. Lighting serves as both a metaphorical and literal backbone of each piece within this art movement. The Baroque is renowned for its intense emphasis on lighting, which plays a critical role in highlighting another key aspect of the style: the humanistic nature of its subjects. This focus on humanism can also be traced back to the era in which the Baroque was conceived. The Renaissance was a period of significant human evolution, with advancements in nearly every facet of life, from the arts and education to medicine. This era was marked by a relentless pursuit of improvement and a better future. Despite this, many artworks from the period also took a religious direction in their subject matter, often depicting the profound emotional impact of life-changing religious events.

The father of the Baroque art style is none other than Caravaggio. A man of many talents, Caravaggio’s most notable achievement was his creation and perfection of the Baroque style. This innovation stemmed from a commission by the Church, which subsequently cemented his legacy in the art world. Not long after, his technique captivated many others who were eager to experiment with it themselves. From this point, we will explore the many influential artworks of the Baroque period, starting with the piece by Caravaggio that set everything in motion.

The Calling of St. Matthew, Caravaggio, 1599-1600, Oil on Canvas, 322 cm × 340 cm (127 in × 134 in), Contarelli Chapel in the church of San Luigi dei Francesi, Rome (the French congregation)

The Calling of St. Matthew is considered the foundational piece of all Baroque artworks. Created by Caravaggio, this piece was commissioned by the Church during a time when there was a shift in focus towards reforming subject matter. The depicted event shows Matthew surrounded by a group of men, likely other individuals of high status, as suggested by their attire. At this pivotal moment, Jesus arrives and summons Matthew to become one of his disciples. The men are left astonished by this sudden call.

The use of lighting in this piece creates an almost heavenly aura around the event. As Matthew is singled out, a warm light cascades from above, symbolizing the divine presence calling him out of the darkness that envelops the scene. This masterful use of lighting and the evoked sense of divine intervention would later become known as Caravaggism.

The Night Watch, Rembrandt, 1642, Oil on Canvas, 11′ 11″ x 14′ 4″, Rijksmuseum, Netherlands

Contrasting with the subject of the previous piece, we examine The Night Watch by Rembrandt. This artwork explores a different facet of life, shifting focus from the affluent to the common men and soldiers. The Night Watch portrays the Dutch militia, led by Captain Frans Banning Cocq and Lieutenant Willem van Ruytenburch, in a lively scene that captures them either returning from or marching towards a battle.

Given that this piece was created two hundred years after the earlier one, it’s not surprising that the focus of artworks had transitioned to more grounded subjects. This change in thematic focus is accompanied by a shift in how lighting is utilized. Unlike in previous times, where lighting could serve as a subtle enhancement to other elements, Rembrandt employs light to dominate the mood of the piece. The warm tones bestow a sense of honor upon the men, suggesting that the artwork is meant to celebrate the bravery and courage required to risk one’s life for those they love and cherish.

 Judith Slaying Holofernes, Artemisia Gentileschi, 1612-1613, Oil on Canvas, 158.8 cm × 125.5 cm (6’ 6’ x 4’ 1’), Florence, Capodimonte Museum, Italy

Taking a more dramatic turn, the next painting we will examine is Judith Slaying Holofernes. As the title straightforwardly indicates, this painting focuses on the demise of Holofernes.

To provide some context, the scene is derived from the Book of Judith. Holofernes was a ruthless leader intent on conquering numerous lands during his reign. One of the cities he aimed to capture was Bethulia. In a bold move to save her city and its inhabitants, Judith offered herself to Holofernes. Holofernes, unwisely accepting Judith’s proposition, lets his guard down. After indulging in excessive drinking and passing out, Holofernes presents Judith with the opportunity she had been waiting for. Seizing the moment, Judith uses Holofernes’ own sword to decapitate him, thereby liberating her city.

This painting is imbued with a powerful tone, adding a twist to the story. While the original narrative simply has Judith beheading Holofernes, Artemisia Gentileschi opts to enhance the tale by including Judith’s maidservant as an accomplice in the act. The lighting in the painting accentuates the intensity of the moment, from the blood splatter to the firm grip on Holofernes’ hair, portraying the grandeur of the act. The defiant expressions on the women’s faces, divided into dark and light halves, seem to mirror the moral dichotomy of the event unfolding. Of all the pieces, this one stands out as my personal favorite, purely for the sheer emotion it conveys.

David with the Head of Goliath, Caravaggio, 1609-1610, Oil on Canvas, 125 cm × 101 cm (49 in × 40 in), Borghese Gallery and Museum, Rome

In conclusion, we circle back to the very artist who initiated our journey, Caravaggio. In this artwork, Caravaggio portrays the aftermath of the tale of David and Goliath. In brief, the story narrates the encounter between David, a young shepherd, and the formidable Goliath. Goliath, a giant warrior clad in armor from head to toe, is well-versed in the brutality of war. David, in contrast, is equipped merely with a slingshot, five smooth stones, and a shepherd’s staff as his last resort. Despite the overwhelming odds, David’s ingenuity enables him to strike Goliath’s eye with a critical blow, ultimately felling the giant. David then secures his victory by beheading Goliath.

The elements within this piece are truly remarkable. Caravaggio, with his exceptional mastery of lighting, accentuates the details of the scene, allowing the distinctiveness of each subject to shine. The contrast between David and Goliath is strikingly depicted through their skin textures, highlighting David’s youthfulness, devoid of wrinkles and significant muscle mass - a testament to his inexperience in combat. Conversely, the scars, beard, and rugged appearance of Goliath’s face portray him as a seasoned warrior. Additionally, the use of shadows adds an ominous atmosphere to the scene. A closer inspection below the decapitated Goliath reveals the messy aftermath of the battle, suggesting the beheading was not as clean as one might imagine.

An intriguing aspect to note is the motivation behind Caravaggio’s creation of this piece. It is believed that following his exile due to a murder charge, Caravaggio painted this artwork as a form of penance, casting himself in the role of Goliath. Through this depiction, he might have sought forgiveness from the Pope, hoping the painting would aid in his atonement and eventual absolution.

References:

Auvray, Héloïse. ‘Judith Slaying Holofernes: Artemesia Gentileschi’s Feminist Expression of Revenge Violence?’

Puttfarken, Thomas. 1998. ‘Caravaggio’s `story of St Matthew’: A Challenge to the Conventions of Painting.’ Art History 21 (2): 163. doi:10.1111/1467-8365.00101

Sofia Barchiesi ‘David with the Head of Goliath’ in ‘Discover Baroque Art,’ Museum with No Frontiers, 2023.