Caravaggio: A Life Sacred and Profane

Very interesting and thorough biography of Caravaggio. It is a study of an amazing life and legacy of work. Very good

This book is an edifying, immensely enjoyable, and curious mix of biography and art appreciation. I say curious mix because after ten years of research Dixon-Graham has permitted the reader to sense (and I use the word explicitly) how the artist's works subtly changed the author. Nothing dramatic here except that to note a feeling that as his book progresses, the author seems to exhibit some of that wild uncontrollable passion that marks the life of Caravvagio. Fortunately for the reader, ending in a happier ending.The author's preoccupation with the influence of the art of the sacro monte is illuminating for this American reader because I had heretofore associated such displays with a type of tv proselyting or paper mache displays, a bit mawkish and maudlin. However Graham-Dixon certainly does shed much illumination on Caravaggio's early development in northern Italy, the effect of living in a city culturally and religiously ruled by Borromeo, and the lack training in the arts as was then common practice. There can be no doubt that the author takes those unfamiliar with this artist to a new understanding or those who have found this artist particularly unnerving or just aesthetically unappreciated as II had.Needless to say if you admire Caravaggio, then you will enjoy this book as biography. If you wish to understand this work, then this book will answer many questions. It also is for the neophyte one of the best descriptions of how to appreciate still lives in particular or art is general. If there is some very soft English humor here, then you should mull over the claim that the toothed lizard in Caravaggio's still life "Boy Bitten By A Lizard" is an image of "vagina dentata."I would not take issue with this or any other opinion Mr. Graham-Dixon might have concerning Caravaggio since it may end with rapiers flying. Suffice it say that the author has written a book that will not fail to satisfy a reader looking for an intelligent, provocative, and sophisticated book.

I recommend the reader have at hand a computer screen and/or library reference book with more and better quality/size plates. Some early works lend themselves to relatively inexpensive, small-scale reproduction, but, almost all of the larger works appearing here suffer, particularly when the author attaches so much significance to details of the paintings to fill in some of the many missing gaps of evidence of Caravaggio's existence. Also, the inferior color plates cloak, in my opinion, the genius of Caravaggio's use of chiaroscuro.The book otherwise is intriguing and enchanting and an obvious labour of love. Even after enjoying Graham-Dixon's masterful approach, Caravaggio remains one of those elusive greats about whom I wonder: how could one person, of humble stock, recklessly living on the fringes 400 years ago, leave such an immense mark? My feeling is that he was touched by fire, and saw, heard, felt and in his own way communicated in mysterious but miraculous ways no one else could.Just as the author impresses by showing how derivative Caravaggio could occasionally be (e.g., of Michaelangelo), it is also wonderful to read of the artist's profound continuing influence. Here is a snippet from the book from Martin Scorcese, the outstanding filmmaker, on the influence he carries over to his own works from Caravaggio's story-telling approach: "[Caravaggio] was choosing a moment that was not the absolute moment of the beginning of the action, it's during the action, in a way. You sort of come upon the scene midway and you're immersed in it." Wow!

This is an exceptional book. While you will not really understand Caravaggio as a man you will understand who he is as a painter. I believe the author uses a sound methodology to interpret the meaning of Caravaggio's painting. Based on the historical, artistic and theological contexts of the time, the author leads you in how to understand the paintings. You will need a computer to look at the paintings because he does go into detail and with a computer so you can enlarge the images and see what the author is referring to. This book is not one you can zip through but it is worth every minute you spend on it.I especially liked the theological explanations of Caravaggio's work having studied theology at the college level the author's arguments had great resonance. I believe that the emphasis on the homoerotic frame as a way to interpret these paintings is too narrow an interpretation. If you look at ancient Greek and Roman Art, humans are portrayed as godlike in their perfection. Early Christianity held an opposite view of the poor and the humble as they are as the ideal. When Christianity became institutionalized the representations of saints become more distant from this ethos and the divine aspect was emphasized.The last thing I would suggest is to go see Caravaggio's work in the museum to understand his power. What he captures in his later work is the meaning of transformation and paradox. When I was in Naples I saw his crucifixion. As a Catholic I was taught that the crucifixion was a symbol of strength in weakness. In this painting I finally understood it. A dead Christ on the cross, illuminated from within radiating divinity--it was remarkable. While no longer religious, I do appreciate the power of Caravaggio to bring to life the complexity of religious thought and its emotional power.

Enjoyable read about the life of a tortured artist.