The dirty feet got affixed to his art form, personality, and portrayed the catholic pauperism beliefs that were opposed by the Catholic Reformation.
Caravaggio’s early life and initial paintings
The baroque painter was born in Milan where he was baptized. His childhood and education were spent in catholic pauperism beliefs in the spirit of St. Charles Borromeo.
He did his initial training under Simone Peterzano and left for Rome from Milan in 1592.
Caravaggio’s naturalistic and unorthodox painting skills caught eyeballs of the Roman Catholic patrons during the counter-reformation in Rome.
The Boy Bitten by a Lizard in the National Gallery London was painted by him during his beginnings in Rome. This painting revealed the authenticity and realism; he painted the model with dirty fingernails and gave surmountable importance to the detailing of the inanimate objects like the sprig of jasmine inside the glass vase.
Caravaggio’s Paintings with Dirty Feet
Saint Matthew and the Angel
In 1599, he was contracted by the Contarelli Chapel to decorate the Church with the paintings of the Evangelist Saint Matthew.
The dirty feet of the Saint and impoverished nature did not match the idealization of their beloved Saint Matthew. The Church leaders found it really crude and could not see the image of a poor peasant depicting as their Evangelist.
And so, he had to paint the second version The Inspiration of Saint Matthew depicting a more glorified and reverent image of the master that was accepted by the Church officials.
The Crucifixion of Peter
When Peter was crucified, he asked to be turned upside down to be the opposite of Jesus’ crucifixion. This painting too depicted the dirty feet of the man pushing up the cross.
Why the paintings were rejected by Church
The Counter-Reformation Popes in Rome opposed the ideology of pauperism. The Church patrons thought that all the poor; and especially the beggars, held no interest in the church reforms and were considered as ‘ignorant of Christian truth’.
According to them, the poor people were seen as sinners or criminals.
Therefore, the Church outrightly rejected paintings with dirty feet by Caravaggio at first look and wanted to promote more glorified images of their Saints.
Caravaggio’s school of thought was inspired by pauperism. And, so the naked and dirty feet of Caravaggio’s saints were the feet of those who believed that Jesus, the son of God was “made man” and lived in poverty.
His compositions were being asked to alter by the Church to suit the desires of the patrons during that era. But Caravaggio’s sense of authenticity, the rawness of human existence is still perfectly preserved in the Augustinian churches of Rome
Some artists are irremediably linked to a painting, maybe two, and sometimes even three. They are communicating vessels, a flash in mind in the form of an image evoked every time we hear their names.
It happens to El Bosco and his The Garden of Earthly Delights. Something similar happens with Girl with a Pearl Earring and its author, Johannes Vermeer. These two cases illustrate how intimately linked author and work are in the collective imagination, that popular wisdom that makes us know a little of everything and that, when it comes to painting, creates these particular associations.
It also happens to Leonardo da Vinci is perhaps the clearest example of the phenomenon we are talking about. Two works come to mind when someone hears his name: La Giocondaand The Last Supper. They are two paintings that the entertainment world has used for countless products (from movies to novels of all kinds), increasing the preponderance of these two works when relating them to their artist even more.
However, Da Vinci is more than those two paintings. For example, the one we have below, known as Le Belle Ferronière, undoubtedly passes as one of his best works despite not enjoying the same fame as the other two.
In this portrait, we can observe a woman placed in a three-quarter position whose face is frontal and establishes eye contact with the artist and, therefore, with the viewer who watches the painting. It can be guessed that she has her hands folded, a classic pose in this type of Renaissance portrait. In addition, in his gesture, we can see a certain innocence but also attention to the person he is observing.
We can see that on her forehead, she wears a small jewel, like a necklace, around her head, which gives personality to the young woman. She undoubtedly belongs to the wealthy class of Milanese society (the picture was painted during Da Vinci’s stay in the Italian city of Milan).
There are small details that explain what was going through Da Vinci’s mind at that time. For example, his interest in optics and in how light worked on objects. If we look at the model’s left cheek, which is the exposed one, we can see slight echoes of red in the curve of the jaw.
It is a reflection of the dress of the same color, an effect that occurs when an intense light falls directly on a colored surface, creating reflections that can permeate nearby objects or, in this case, the face of the young woman.
That dress is another crucial point of the painting. We can observe some bows and gray strips of a vaporous texture. Although it does not reach the virtuosity that Flemish artists would display, Da Vinci’s work with the red cloth is more than remarkable, and its richness in craft is a clear indication of the high social status of the person being portrayed. Also, the necklace, a tailored ribbon, is another added value that reflects his place in the social hierarchy.
Da Vinci’s mastery of using shadows allows La Belle Ferronière to show much more pronounced modeling, thanks to the contrast of the luminous face with a dark background in which nothing is visible. The absence of a landscape or anything behind the model places one hundred percent of the viewer’s attention on the young woman portrayed.
There is an obvious parallel, or echo, between La Gioconda and Lady with an Ermine. However, in the case of this painting, the absence of the technique of sfumato (something that Da Vinci had not begun to explore, or at least to capture in his works) has caused that today the portrait is below in terms of popularity.
How the renegade Italian artist revolutionised image making forever
Caravaggio was an artist who divided opinions during his own lifetime. His method of presenting human figures with realistic and often rugged features met with fierce criticism.
Moreover, the stories we know of his life — including tales of brawling, debt and murder — have come to shape readings of his art as dramatic, untamed and impassioned. As such, his paintings seem to echo his reputation as an unflinching and controversial character.
Yet despite the defiant air with which he lived his life, Caravaggio became a hugely influential force on the succeeding generations of artists and has become one of the most revered painters in Western art.
Caravaggio developed his artistic reputation in Rome, where moved from Milan in 1592, and over the next 14 years became notorious for his distinctively unpretentious style.
Painting in Italy at the time had evolved from the High Renaissance style exemplified by the “perfect” forms of Michelangelo into a style of painting that took stylisation and exaggeration as a norm, known in art history as Mannerism.
The significance of Caravaggio in the story of art lies in his rejection of Mannerist artificiality and self-conscious “facility” — most especially the search for a kind of effortless grace in depicting the human form.
Against this grain, Caravaggio painted humans without pretence: his figures are weighty, corpulent, earthy and palpable. His methods often involved painting directly on canvas without prior preparation, and he would sometimes cover entire paintings with new compositions if he wasn’t happy the first time.
Take The Supper at Emmaus, painted by Caravaggio in 1601. The subject is a biblical scene as told in the Gospel of St Luke: three men are sitting eating at a table when one of them reveals himself to be Christ. The two companions were not aware before, but nowthey see.
On their faces and in their body language we see the sudden awareness of Christ’s identity. This transformation is the central conceit of the painting and its dramatic intention.
Caravaggio dared to present the Biblical story at a dinner table that was clearly contemporary and familiar, using ordinary men as models with worn clothes and wrinkled features, and eschewing any attempt at idealisation.
His tendency to show apostles as dirty and unkempt was a point of criticism often levelled by those who felt such religious subjects required a more hallowed approach. Yet his technique was quickly seized upon by other artists who were impressed by the gravity and directness of his painting style.
Caravaggio became known for a technique of extreme chiaroscuro: that is, a heavy use of shadows and light to add dramatic depth to his scenes. This leaning towards shadowy, and sometimes brooding depictions was another break with the Mannerist tradition, which as the 16th century progressed had moved towards a lighter, more pastel-toned colour palette.
One of the clearest ways we can see this influence is through Caravaggio’s frequent creation of abstract settings for his paintings. That is to say, the way he often placed his scenes against a dark background that contained little or no hint of a location.
A painting like The Incredulity of Saint Thomas, which shows the moment when Thomas the Apostle declared he would not believe in Christ’s resurrection unless he could “put my hand into his side”, is set against an entirely black background. All of the drama is at the front of the painting, where the key elements such as faces and hands are highlighted against the backdrop.
The term for this style is tenebrism, a style of painting characterised by the use of light foregrounds contrasted against the background. The term is derived from the Italian “tenebroso” meaning “darkened” or “obscured.”
Now look at this painting, Christ Displaying His Wounds by Giovanni Antonio Galli. Galli was a member of the Caravaggisti — followers of Caravaggio who used his dramatic techniques as a basis for their own work.
In a similar mode to The Incredulity of Saint Thomas, this painting shows a pale-skinned Jesus in a three-quarter view. The lower half of his body is cloaked in a white linen cloth, which is draped over his left arm and wrapped around his waist in rich folds.
There is much of Caravaggio in this work. The almost pitch-black background, the invisible light source that illuminates little but the main subject of the work, gives a distinct sense of the figure of Christ emerging from the shadows with the exact place or time of day impossible to determine.
Influence beyond Italy
Numerous artists beyond the borders of Italy were also captivated by the new stylistic developments occurring in Italy which Caravaggio had spearheaded.
The Spanish artist Jusepe de Ribera, after travelling to Rome and Naples in the first quarter of the 17th century, adopted many of the techniques that Caravaggio mastered.
Indeed, artists from across Europe gravitated to Rome to explore and share in the various aspects of chiaroscuro and tenebrism that Caravaggio had pioneered.
Adam Elsheimer from Germany was one such artist. Another was the Flemish painter Peter Paul Rubens, who made his way to Italy in the early 1600s. Painters like Titian and Tintoretto were instrumental in Rubens’ development, as was Caravaggio, whose Entombment of ChristRubens went on to produce a copy of.
Caravaggio was admired — and sometimes also condemned — for the intense and unsettling realism of his work. He deliberately sought to create heightened drama in his scenes, utilising the vivid language of highlights and shadow to sharpen the details of gestures or facial expressions.
Take a work like Judith Beheading Holofernes(c.1599). Prior to Caravaggio, artists tended to show Judith holding or carrying the head of Holofernes after the slaying. These works tended to emphasise Judith’s wealth, making her fine clothes and jewellery a central emblem of the image and thereby underlining her noble status – and by implication, the nobleness of the deed.
Yet for Caravaggio, the bloody reality was of more obvious interest. In his work he chose to show the actual moment of the assassination.
Some two decades later, deeply influenced by Caravaggio, Artemisia Gentileschi created her own version of the scene, perhaps the most macabre depiction of the story ever painted.
In this work, Gentileschi gives us the most direct view possible, allowing us to witness the bloody force of the sword along with fierce attention paid to the harsh truthfulness of the slaying.
Caravaggio’s critics would later claim that his treatments of important Biblical subjects were disrespectful and indecent. But this did not stop his influence from extending to the generation of Baroque painters who followed him.
Few other artists of the era had such a mastery of narrative drama and physical gesture, and fewer still had the power to inspire and influence later artistic generations as far as the Romantics and Modernists.