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Caravaggio, the womanizer

Caraaggio's exhibition at the Quirinal Stables in Rome

grateful task, to celebrate the 400 years since the death of Caravaggio, giant art, the protagonist of the change, failed rationalist utopias of the Renaissance, would inaugurated the modern Western culture. Reconstruct the context in which his figure took hold, the Counter-Reformation Italy in search of new spirituality able to justify theologically the crisis of a story out of hand. Summarize the research has always been a critical conflicting sides on the fence, or let the work speak, such as making a comparison of the two versions of the Conversion of Saul painted for the Cerasi Chapel of Santa Maria del Popolo. The first, precious and conventional attempt to please and to represent the late mannerist style of late sixteenth-century, and for this, perhaps, rejected by the forward-looking customers and the other, more innovative and authentic Caravaggio. Easy and challenging task, in short, to celebrate the anniversary with a show about a character issue as controversial as Caravaggio and a century so troubled as the seventeenth century. The task, however, that the review created by Claudio Strinati at the Quirinal Stables in Rome, seems to ignore. All the more strange, claimed that the aim of the initiative is to present to perform the work and close some with decades of dubious competence, leaving hope for a philological and exhibition complex. Review
still be seen, given the number of works, but no attention is necessary for recurrence, as evidenced by even the catalog and the weak presence at this truly singular paintings of dubious ... Culpable negligence, as in bad light restricted to the painter of light? Maybe not. Maybe, away the hangover of the eighties - sensitive to the genius tormented years of the artist - is the moment of normalization (not to mention the revisionism), the popular national hangover, the complexity of the eclipse. He insisted a few days ago the art historian Maurizio Calvesi, the festivities by presenting to the press: "There is no evidence that Caravaggio was an" accursed painter ". Nor unbeliever, nor homosexual. In truth real slander. But practicing and probably died in a duel for a woman. " As if the possible homosexuality was a "slander" (but then, what the historian knows, maybe there was?), Or if it had never been in doubt convinced her faith. Ecstatic and heretical, though, in the late sixteenth-century Rome. And as if the invention a romantic Caravaggio cursed, was not part of a totality capable of crossing aesthetic tastes and Weltanschauung. Including, now, that of contemporary Italy, in need of male genes and devoted, inevitably womanizer.