Abstract
Light in Caravaggio is not irrelevant to the meaning of a picture, but is
accessible to an iconographic interpretation. Its meaning can be determined
by considering the context in which it appears; by discussing its
articulation which varies between the extremes of a hard grasp of the object
and a sympathetic dwelling within the object, or rather, within matter.
This can be demonstrated in the Berlin Amore vincitore. The extremes of
lighting are the glaring light on the tablecoth and the soft light not
heightened by reflexes in the musical instruments. The hard, detached light
is metaphorical of the conquering Amor, whereas the soft variant stands for
a mild, all-embracing Amor.
In some of Caravaggio´s pictures, light with its varying articulation
underlines the aspect of violence in the respective subject matter. In a
highly significant passage of the Florence Sacrifice of Isaac, strong light
hits the boy´s nude body which is threatened by the knife. Thus light
creates the atmosphere of impending violence in an interplay with Abraham´s
gesture and the hard contours.
The foreground group as a whole is determined by strong light-and-shade
contrasts, whereas in the background landscape, soft light spreads in space
without casting hard shadows. Light is here understood to accentuate the
motherly aspect of the landscape. By contrast against this soft chiaroscuro,
the hard foreground lighting recalls the unreal aspect of mirroring. This is
normally and by rights considered as heightening the realistic character of
painting; in this context, however, it gives momentum to the unreal
appearance of the scene brought about by the stress of aggression and fear.
At closer inspection, however, it will be noticed that the violent dynamics
of light affects the landscape, too. Light leaves some traces in it which
are hardly recognizabe as real light phenomena and which point back to the
knife in a strange arrangement.
The Sacrifice of Isaac follows the demands of the Catholic dogma of
sacrifice, but it does so only at a superficial level. It exposes the
situation of sacrifice as one of horror and puts forward a radical criticism
of sacrifice, pointing at eros as a force which is threatened by this
institution and would eventually make sacrifice dispensable.
Besides the Sacrifice of Isaac, the Capitoline St. John is interpreted in
this sense.
The Florence Sacrifice unfolds a conflict between the violence of sacrifice
and a force of mediation which incorporates reason and love. This force is
embodied by the angel, whose pointing hand epitomizes the dominating formal
tendencies of the composition, thus making it clear that the composition is
an integral part of the enacted drama.
The variable articulation of light is also relevant in other iconographic
contexts. The hard light variant hitting objects from outside is always on
the side of a strong affect or of violence which transcends emotion.
In the Potsdam Doubting Thomas the hard light is that of the disciple
stubbornly seeking certainty by physical perception, and is contrasted by a
soft light emanating from Christ and symbolizing his all-embracing spirit.
In the late Borghese St. John, the head of the saint is articulated under a
decisive, vitalizing light, whereas the light on his trunk is weaker in
chiaroscuro and makes the body appear abandoned to sacrifice.
The latest version of David with the Head of Goliath (also in the Borghese
Gallery) has a strong illumination light on the severed head. It is the
light of violence and guilt. The tenderer light version, in the figure of
David, represents grace as unfolded in the compassion with which the victor
regards his trophy. The hand which is holding the giant´s head is also
affected by the strong chiaroscuro. Thus the figure of the future king (and
the type of Christ) appears to be subject to conflict and guilt.
Most Caravaggio pictures display their figures or figure groups against a
neutral background. The situation they constitute is inescapable, and so is
the beholder´s identification with them. This gives the metaphor of light as
violence a strong validity.
Georges de La Tour takes up the Caravaggesque tradition of light and colour
and uses it to conjure up a cult-like atmosphere in which figures and
impulses are transfixed. This is demonstrated in the Berlin Finding of St.
Sebastian by St. Theresa.
In Caravaggio´s Martyrdom of St. Ursula, there is a whitish, soft light
quasi emanating from the saint. It signifies a tenderness in relation to
herself and the recognition of the mortal wound at a moment which is free of
fear and hatred. This picture presents the clearest conceivable alternative
to the light of violence. |
