In my research proposal, I explored the influence that Caravaggio and his techniques, specifically his treatment of value and color, had on Simon Vouet and how this influence could specifically be seen in Vouet’s painting Woman Playing a Guitar. In Woman Playing a Guitar, Caravaggio’s characteristics of a sharp contrast between the light and dark of the foreground and background of the painting are a prevalent feature. The contrast in value between the upper body of the woman and the almost black background she is set against creates drama and an illusion of movement even when none is present.
However, the influence of Caravaggio reaches much further than that of simply Simon Vouet and Woman Playing a Guitar. In fact, there is a name for the school of painters who followed in Caravaggio’s footsteps after his death in regard to their treatment of value and color. These painters are called Caravaggisti, and while a few specific painters were associated with this movement (such as Rubens, Ribera, and Bernini), it was so far-reaching across Europe that almost all painters active during the first half of the seventeenth century were influenced by Caravaggio’s techniques.
The goal of this Curation will be to shed light on the bandwidth of Caravaggio’s influence on seventeenth-century oil painting. Two of Caravaggio’s own paintings are displayed here, which help us to pinpoint what specific techniques he employed that became so wildly popular. The other paintings displayed are by various seventeenth-century artists, all of whom were significantly influenced by Caravaggio in the paintings I have chosen. By comparing the Caravaggio paintings to the other examples I have provided, the viewer can compare and contrast stylistic choices and easily trace the influence of Caravaggio in each painting.
Simon Vouet, Woman Playing a Guitar, ca. 1618, Oil on canvas, 2017.242, 42 x 29 ⅞ in.
This painting (the subject of my previous research proposal) is housed at the Metropolitan Museum of Art. Caravaggio’s influences are clear in Vouet’s treatment of light, specifically in the contrast in value between the woman’s face and chest and the background behind her. This value contrast is a Caravaggesque technique which we will shortly observe in two of Caravaggio’s own paintings as well as several more that were influenced by this Caravaggesque technique.
Michelangelo Merisi Caravaggio, The Denial of Saint Peter, 1610, Oil on canvas, 1997.167, 37 x 49 ⅜ in.
This Caravaggio painting can be found in the Metropolitan Museum of Art’s collection. This painting serves as a means through which we can observe Caravaggio’s technique and the elements of his painting that were influential on other Caravaggisti painters during the seventeenth century. The majority of this painting is occupied by darkness that emphasizes the value contrast with light portions of the painting, such as Peter's face and hands and the head covering and face of the woman who stands to his left.
Michelangelo Merisi Caravaggio, The Musicians, 1597, Oil on canvas, 52.81, 36 ¼ x 46 ⅝ in.
This second Caravaggio painting is also housed at the Metropolitan Museum of Art. While the dark background of The Denial of Saint Peter is not present here, Caravaggio still employs value contrast to create drama. The value of the whiteness of the musicians’ faces and skin contrasts with the darker hair, red sash, and darker background. Furthermore, this painting shares subject matter similarities to Woman Playing a Guitar. Both paintings depict musicians in the act of creating music with their instruments.
José de Ribera, The Holy Family with Saints Anne and Catherine of Alexandria, 1648, Oil on canvas, 34.73, 82 ½ x 60 ¾ in.
This painting by Ribera can also be found at the Metropolitan Museum of Art. While this painting was not done by Caravaggio, many stylistic elements are the same. The bright, vivid colors in the woman’s dress echo the crimson sash in The Musicians, and the background of the painting is occupied by near blackness similar to The Denial of Saint Peter. Contrast between the value of the skin of the infant and two women compared to the black background creates drama. This painting is Caravaggesque to the extent that it could be easily mistaken for one done by Caravaggio himself.
Georges de La Tour, The Penitent Magdalen, ca. 1640, Oil on canvas, 1978.517, 52 ½ x 40 ¼ in.
This painting by Georges de La Tour can also be found at the Metropolitan Museum of Art. While this painting does not include vivid, saturated colors in the same way of The Musicians, the Caravaggesque technique of value contrast is significantly present. In fact, this painting includes more black background than any of the other paintings we have looked at so far. Blackness is pervasive in both the top and bottom halves of the painting, throwing into sharp relief the whiteness of Magdalen’s face, chest, and shirt.
Rembrandt van Rijn, Aristotle with a Bust of Homer, 1653, Oil on canvas, 61.198, 56 ½ x 53 ¾ in.
This painting by Rembrandt is housed at the Metropolitan Museum of Art. Rembrandt himself was an incredibly influential painter. However, even he did not entirely escape from the shadow of Caravaggio’s influence. In Aristotle with a Bust of Homer, Caravaggio’s influence can be seen once again in Rembrandt’s treatment of light and value. The face of Aristotle and the crown of Homer’s head appear to be almost glowing with soft light in contrast to the blackness of Aristotle’s shirt, hat, and the background.
Johannes Vermeer, Study of a Young Woman, ca. 1665-67, Oil on canvas, 1979.396.1, 17 ½ x 15 ¾ in.
This final painting can also be found at the Metropolitan Museum of Art. While this painting is the only portrait that has appeared in this curation, it bears similarities to the dramatic style of Caravaggio even though the painting itself is static. While no motion is happening in this painting, Vermeer creates drama and the implication of movement through the value contrast of the young woman’s face and dress with her hair and the background.
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