Cover painting, The Incredulity of Saint Thomas the Apostle, 1602, Sanssouci, Potsdam, Berlin.
In early 1968, I was eager to enter my major in Oakland University’s art department, aiming for a degree in art history. My mentor, painting instructor Mike Braake, encouraged me to submit a five-hundred-word treatise, a requirement set by the board of directors. I chose to focus on Amerighi Caravaggio, arguing that his use of light in painting mirrored the techniques employed by modern photographers to enhance realism and emotional depth.
Despite my enthusiasm, I struggled to articulate my thoughts in writing. No matter how much I tried, my argument didn’t seem fully realized. Then, in a moment of inspiration, I condensed my thoughts into a single, bold statement: “Art is the response elicited by a creative endeavor.” Convinced of its validity, I submitted it to the board.
My mentor warned me that a single sentence wouldn’t suffice, but to my surprise, the board accepted it and awarded me my major status. However, Mike had one last challenge—he insisted that I still turn in my full five-hundred-word paper on Caravaggio the next day if I expected to pass his class. I wrote it, he accepted it, and I moved forward with my studies, carrying with me an even deeper appreciation for Caravaggio’s work.
John the Baptist, 1604, Galleria Nazionale d’Arte Antica, Rome.
The Early Life of Caravaggio
Michelangelo Merisi da Caravaggio, known simply as Caravaggio, was born in 1571 in Milan, Italy. His early years were shaped by hardship, particularly when his family fled to the town of Caravaggio to escape an outbreak of the plague. Despite these struggles, he secured an apprenticeship under Simone Peterzano, a Milanese painter who had studied under Titian. Under Peterzano’s instruction, Caravaggio learned the fundamentals of Renaissance painting, yet his style would soon diverge dramatically from traditional artistic norms.
Saint Francis in Ecstacy, 1595, Wadsworth Atheneu, Hartford, Connecticut.
Breaking Conventions in Rome
In the early 1590s, Caravaggio moved to Rome, where he struggled to establish himself. He worked on still-life compositions, painted young musicians, and assisted other artists to make ends meet. His turning point came when he caught the attention of Cardinal Francesco Maria del Monte, an influential patron who provided him with opportunities for significant commissions. With this support, Caravaggio’s career flourished and his signature style began to take form.
Bacchus, 1596, Ufizzi Gallery, Florence.
The Power of Light: Chiaroscuro and Realism
Caravaggio’s most defining technique, chiaroscuro, involved the dramatic interplay of light and shadow to create depth and intensity. Unlike many painters of his time, he abandoned the idealized depictions of religious and mythological figures, choosing instead to portray them with raw, unfiltered realism. He painted wrinkles, dirt, and imperfections, making his subjects feel alive and profoundly human.
One of his earliest masterpieces, “The Calling of Saint Matthew” (1599–1600), demonstrated his revolutionary approach. Instead of depicting the biblical event in a grandiose setting, Caravaggio placed the figures in what resembled a dimly lit tavern, using a beam of light to direct the viewer’s attention. This work, along with his other commissions for the Contarelli Chapel, solidified his reputation as an artist who defied convention.
Sacrifice of Isaac, 1598, Princeton Collection New Jersey.
A Life of Conflict and Exile
Despite his growing fame, Caravaggio’s personal life was turbulent. He was known for his quick temper and frequent involvement in street fights. In 1606, he killed a man, Ranuccio Tomassoni, during a dispute—possibly over a gambling debt or an insult. Facing a death sentence, he fled Rome and spent years in exile, traveling between Naples, Malta, and Sicily.
Even in exile, Caravaggio continued to produce striking works. His painting “The Beheading of Saint John the Baptist” (1608), completed while in Malta, is one of his most haunting compositions, marked by stark contrasts and raw emotional depth. His later works, such as “The Burial of Saint Lucy” (1608) and “The Raising of Lazarus” (1609), displayed a deepened intensity, reflecting both his artistic evolution and the struggles he endured.
Narcissus, 1599, Galleria Nazionale d’Arte Antica, Rome.
The Final Chapter and Lasting Influence
Determined to return to Rome, Caravaggio sought a papal pardon. In 1610, believing he had finally secured his freedom, he embarked on a journey back to the city. However, he fell ill along the way and died under mysterious circumstances in Porto Ercole at the age of 38. Some theories suggest he succumbed to an infection, while others speculate that he was assassinated by his enemies.
Though his life was cut short, Caravaggio’s impact on art was profound. His dramatic use of light inspired the Baroque painters who followed, including Rubens, Rembrandt, Vermeer, Velázquez, Bernini, LaTour, and others. His commitment to unidealized realism set a new standard, influencing generations of artists long after his time. Once controversial, he is now celebrated as one of the great painters in history.
Art historian Andra Berne-Joffoy stated, “What begins in the work of Caravaggio is quite simply modern painting”
Saint Jerome Writing, 1605, Borghese, Rome.
Caravaggio and Modern Photography
Looking at Caravaggio’s work today, it is remarkable how closely his use of light aligns with modern photographic techniques. Just as photographers manipulate lighting to create mood, drama, and depth, Caravaggio carefully structured his compositions to maximize visual impact. His paintings often feel cinematic, capturing a moment frozen in time with stunning clarity.
His ability to harness light as both an aesthetic and narrative tool was groundbreaking. It transformed the way artists approached composition, emotion, and realism. Reflecting on my own academic journey, I recognize that my early assertion—that Caravaggio’s paintings anticipated modern photographic methods—was not far-fetched. His ability to elicit raw emotional responses through light and shadow remains one of the most compelling aspects of his work.
Still Life With Fruit, 1605, Rome.
My admiration for Caravaggio’s painting is immense. His work exemplifies the greatness he achieved, both in technique and in artistic vision. More than four centuries after his passing, his influence endures, proving that light, when wielded by a master, can transcend time itself.
References
Caravaggio, Catherine Puglisi, Phaidon, 1998.
Caravaggio: The Art of Realism, John L. Varriano, Pennsylvania State University Press, 2006.
Caravaggio: Paintings In Closeup, Annabelle Thornhill, Osmera, 2015.
