The one exhibited in Ragusa just isn’t Caravaggio. VIDEO Ragusa

Scicli – The portray exhibited in Ragusa, within the Badia church, just isn’t by Michelangelo Merisi generally known as Caravaggio. Vittorio Sgarbi has no doubts, who wrote a bit within the weekly Panorama on this regard, releasing, on Saturday night, throughout his presence in Scicli, additionally an interview with Video Regione.

Thus Sgarbi on Panorama: “Stimulated by the insistent Caravaggesque conates of Ragusa, which presents, within the church of the Badia, a” mendacity “San Giovannino, I’ve resumed rigorously learning the story of attribution supported by an illustrious scholar of Caravaggio, Mina Gregori, and by a gifted restorer, Roberta Lapucci, in whose studio I noticed the portray for the primary time. Doubtful, I didn’t pronounce myself, coming to the conclusion that the thought, actually by Caravaggio, referred to a misplaced authentic, involving within the limiting judgment the one other well-known and studied instance of the portray, saved in Munich.


I stated, from the primary day, after I noticed this portray exhibited in Camaiore, that I might not write about it, in reality there isn’t a essay of mine. I made an article through which I say that the work could be very attention-grabbing, and as with different works by Caravaggio – 9 are identified of the “Maddalena”, ten of the “San Francesco” are identified – two variations of this are identified. We see an attention-grabbing work for research, as a result of it testifies to an invention by Caravaggio. The recipe is from Caravaggio. The hand of an artist is like that of a tailor, a prepare dinner. Right here we’re confronted with the derivation from a piece by Caravaggio, in all probability misplaced, of which we have no idea the existence, and the prepare dinner who made it’s not Caravaggio.

I adopted the logic of the precept of the misplaced authentic. However I used to be mistaken, as a result of, if not in copy, I had by no means seen the instance of Monaco reside. And I imagine that solely the comparability, shut or at a distance, can enable a sure judgment. It could have been the perfect situation, additionally for the Ragusa exhibition, to match the 2 work. This chance has solely touched a couple of students who’ve measured themselves in opposition to each.

I subsequently thought it essential to additionally check out the Munich portray.

Caravaggio, Saint John the Baptist (Saint John the Reclining) Monk

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ranging from the observations of the identical who’ve pronounced for the “San Giovannino” exhibited in Ragusa:

St John’s Reclining, Malta

Mina Gregori and Roberta Lapucci.
The primary wrote, having seen it within the Nineteen Eighties:

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“Varied stringent arguments enable the ‘San Giovannino’ examined right here to be referred to Caravaggio. I’ve identified the work for a few years and from the start I thought of it by the nice Lombard. The presentation of the semi-reclining saint is uncommon in conventional iconography and suggests the painter’s intent to exalt the determine of the younger man otherwise from the formalists of the sixteenth century, partly wrapped in elegant purple material, with significantly cautious folds to acquire elegant cadences. In distinction to this exhibition, the younger man’s physique seems within the alternation of lights and shadows that spotlight or conceal it … The work is singular, as has been stated, additionally for the eye given to the material, on which the painter investigates in the same option to what could be seen within the ‘San Giovanni Battista’ of the Borghese Gallery, acknowledged late work by the Lombard painter. The significance of the portray as an authentic by Caravaggio is confirmed by the statement that the place of the precise arm was taken up by the Spanish painter Juan Bautista Maino who was in Rome within the first decade of the seventeenth century. In 1611 he had already returned to his homeland. Within the framework of Spanish portray of the early seventeenth century, Maino seems as a Spanish follower of Caravaggio. The connection between him and the Italian grasp is obvious and is confirmed by this portray which belongs to a personal assortment. The acquisition of ‘San Giovanni Battista disteso’ represents an necessary addition to the catalog of Caravaggio’s works “
The second, in a 1991 knowledge sheet, referring to the restoration carried out by Pico Cellini between 1977 and 1978, the outcomes of which have been printed within the monograph on “Michelangelo Merisi da Caravaggio. Pictor Praestantissimus “by Maurizio Marini, printed in 1987, convincingly concludes:

“There are splendid strokes of white lead (lengthy and decisive) on the sting of the purple material that runs below the saint’s physique; they current shut analogies of execution with the material falls of the ‘San Gerolamo’ Borghese and the ‘Resurrection of Lazzaro’ of Messina. The pose of the saint intently resembles that of the Virgin of the ‘Nativity’ of Messina … Within the particulars regarding the face it may be seen that the brow had been painted uncovered and was subsequently hidden by the perimeter of hair. This can be a attribute that emerged from the radiographic and reflectographic examination of the face of the ‘San Giovanni Battista’ within the Corsini Gallery in Rome. “
The report of Carlo Giantomassi and Donatella Zari helps this restoration and diagnostic exercise:

“Typical of Caravaggio is the development of the determine with displacements (which contain, as Marini rightly notes, the left forearm) and changes. The phalanges of the left hand are elongated: how can we fail to see that his arms are virtually an identical to these of the San Giovannino Borghese, with very tapered fingers, virtually unnaturally elongated; and that the shoulder, in all probability affected by a repentance, as a result of maybe the painter had thought the sting of the lambskin, has a curious deformation seen additionally on the portray within the Borghese Gallery? additionally the pointed knee and the extraordinarily elongated proper foot seem very near these of the Borghese canvas, whereas the physiognomic options of the face reveal that it’s the similar mannequin. What painter, if not Caravaggio himself, may have portrayed or remembered the identical mannequin utilizing that very same atypical preparation? “
These in-depth and demanding statements are flanked by positions in favor of the Caravaggesque autography of Michael Stoughton (1987), John T. Spike (1988), Stephen Pepper (1988), Vincenzo Pacelli (1991), Leonard J. Slatkes (1992), Federico Zeri (1998), Peter Robb (1998), Claudio Strinati, Rossella Vodret (1999), Gabriele Finaldi (2009), Bert Treffers (2010), Fabio Scaletti (2014), Sergio Benedetti (2018), Sergio Rossi (2022) .

The latter, within the essay “Caravaggio within the mirror between salvation and damnation”, entails me:
“The work, as Vittorio Sgarbi wrote for the ‘Ecce Homo’ in Madrid, is attributed by itself, such is its visible significance, and since the blood purple of the Baptist’s mantle is much like that of the material that covers the legs of the saint within the ‘Beheading’ of Valletta, to that of the Virgin’s gown within the ‘Adoration of the Shepherds’ of Messina, to the drape of the opposite ‘San Giovannino’ (or ‘Pastor friso’) of the Capitoline Museums, and eventually to that of the mantle of Sant’Orsola of the up to date portray now in Palazzo Zevallos-Stigliano in Naples and constitutes a kind of unmistakable signature of the final Caravaggio ”.
Some, like Treffers, went as far as to publish the “San Giovannino” on the duvet of their studios. In any case, these positions have compelled me to return to see the favourite model of Monaco.

From a direct view, the plastic values ​​and the chromatic vividness of the purple material verify Rossi’s phrases. And so the lunar naturalism of the bare components. The presence of vegetation on the underside can also be attention-grabbing to revive truthfulness to the setting.

Nor does it take note of, with respect to the Ragusa model, the reference to the cross on the foot of the determine, as described in a Medici stock of 1691, a non-determining purpose, for the reason that “ft” is probably not understood actually however as “a Earth”.

Finally my skepticism, which concerned each variations, could be corrected within the conviction that the “San Giovannino” of Munich is the unique Caravaggesque. On the much less studied specimen exhibited in Ragusa, we await the concrete and dialectical outcomes of the Symposium, which can enable the curator Pierluigi Carofano to make a definitive judgment, having acquired the stipulations of different Caravaggio students presently in hiding “.
Vittorio SGARBI Rome 5 June 2022

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