Michelangelo Merisi da Caravaggio, commonly known as Caravaggio, is considered one of the masters of painting.
Alongside artists such as Van Gogh, Raphael, Vermeer, da Vinci, and Manet, he shaped the aesthetic sensibilities of his time during the Baroque period.
(This should not be confused with Michelangelo, who is famous for his statue of David and "The Creation of Adam." He was a representative of the preceding High Renaissance.)
Caravaggio is particularly known for establishing a unique technique of chiaroscuro painting, which emphasizes the contrast between light and dark, significantly influencing the period.
He was indeed a highly significant artist. In today’s world, it is considerably more challenging to make a name for oneself in the art industry compared to 400 years ago, due to the countless emerging artists
Roberto Ferri, one of the most significant modern artists, is frequently compared to the former master of the Baroque, Caravaggio.
This parallel is no coincidence.
After Roberto, born in 1978 in Toronto (Italy), attended a local art school, he graduated with distinction from the Academy of Fine Arts in Rome.
Following that, he engaged in self-education, focusing on Baroque artists, particularly Caravaggio, and the late 16th century in general.
These influences are evident in his works to this day, as they are shaped by symbolic, romantic, and academic elements as well.
Mirror, mirror on the wall
In the image above (or to the left) is Caravaggio's "Narcissus" (late 16th century, 110x94 cm). Below (or to the right) is the modern interpretation by Roberto Ferri from 2017.
Although depicted differently, both artworks illustrate the same scene from the Greek legend of Narcissus, a beautiful young man who rejected all advances from his admirers, such as the nymph Echo. As a consequence, Aphrodite, the goddess of love and beauty, condemned him to fall in love with his own reflection.
There are various versions of how he ultimately met his demise. In one, the waves distorted his reflection, and the ugliness of this sight killed him; in another, he drowned while trying to unite with his desired yet forever unreachable image. It is said that from his blood a flower grew, which was thereafter called the narcissus.
A characteristic feature of both paintings is the high contrast between the illuminated subject and the dark background, which is particularly striking in Caravaggio's work. Given that Ferri can draw on additional artistic influences, this is no surprise.
While Caravaggio leaves the background undefined and hints at a reflection instead, Ferri omits this reflection. However, he depicts the forest as the backdrop where Narcissus holds the ring. Additionally, the "ring" resembles a component of a compass. This directional tool is often associated with morality. Ferri connects the subject and the background through overlapping elements—the stone on which Narcissus sits and his left leg.
The hunched posture and downward-facing face in both images are typical of depictions of Narcissus, which have been popular since antiquity.
The expressive, space-filling arm positions of both figures are characteristic of Baroque art. The "ring," a symbol of perfection in Ferri's painting, appears as a portal through which one could enter the background of the image if Narcissus were not blocking the way.
For the blindfold covering Narcissus' eyes in Ferri's work, I have formulated two interpretative hypotheses.
The first hypothesis sees a deeper meaning in the inevitability of fate. Narcissus' gaze is directed downward, as if he could see his reflection despite his blinded eyes. Despite a disability that seemingly makes the occurrence of event X impossible, it will still happen; Narcissus' fate, as well as that of every individual, is unavoidable.
Considering that Ferri also integrated symbolic aspects into his works, this increases the plausibility of this interpretation. Symbolism primarily focused on the search for a higher, intangible truth, a transcendent idea, with painting styles ranging from naturalistic to impressionistic.
I maintained this assumption until I came across a quote from the American writer W.H. Auden:
"Narcissus did not fall in love with his reflection because it was beautiful, but because it was his. Had it been his beauty that captivated him, he would have been freed from it after a few years as it faded."
If it was never a matter of beauty, it is quite possible that Narcissus suddenly fell in love with his personality, with himself. This interpretation aligns more closely with the modern meaning of the word "narcissism." Personality cannot be perceived with the eyes, which could be represented by the blindfold in the painting. This thesis is supported by the previously mentioned compass comparison, as morality constitutes an important part of character and serves as a guide in the psychological direction.
According to Wikipedia, it broadly refers to any self-admiration or self-love of a person who considers themselves more significant and valuable than the judging observers characterize them.
However, it is important to distinguish between healthy narcissism and pathological narcissism. The latter is a recognized personality disorder listed in the DSM-IV and ICD-10, while the former is of great importance for healthy self-esteem.
Ice Ice Baby!
On the occasion of the 700th anniversary of the famous Italian poet Dante Alighieri's death, Ferri, in collaboration with the ice cream brand Magnum, presented the painting "The Kiss of Dante and Beatrice."
Although Dante and Beatrice were never particularly close, she was said to be a great source of inspiration for Dante. A character of the same name plays a central role in Dante's first work, "Vita Nova," where the first-person narrator describes his inner transformations that he has undergone since their first meeting. Since then, he has revered Beatrice in a transcendental manner.
In an interview, Ferri stated:
"I believe Beatrice influenced all of Dante's works. Love is something that propels you forward. It is inspiration; it is life and death. Not experiencing love can allow you to sublimate and create an immortal work of art."
The full interview is on YouTube, only in italian, but with english subtitles.
"The scene is framed in a circle, which, as previously mentioned, symbolizes perfection and eternity.
The faces together form a figure of infinity, representing their endless love. Dante is identified by his characteristic red cloak. Beatrice is depicted as naked, embodying absolute love, which is symbolized by a goddess on white fabric representing purity. Furthermore, she serves as a guide to the pagan Dante into paradise, as she represents faith, divinity, theology, and divine revelation.
That’s quite a heavy burden for a woman who, in her time, was not even allowed to manage her own wealth."
Angel, Death and Devil
"The third work I would like to address in this short list is titled in the original 'L'Angelo La Morte E Il Diavolo,' which translates to 'The Angel, Death, and the Devil.'"
It quickly becomes apparent that three figures are named in the title of the image, but four are visible.
This raises the question: Who is who?
The black, faceless figure is shrouded in dark fabric. In its hand, it holds a staff.
I assume that this figure represents Death, as its depiction aligns with the common image of Death spread by the media.
The angel is clearly identified; it is the female figure lying on the ground. This leaves only the question of who the devil is in the image. Since the man is sitting on the seemingly dead angel, one might think that he—the devil himself—has killed the angel. Murdering an angel is certainly not something a mortal does casually. Upon closer inspection (you can click on the image to view it in full screen), you can see that the standing woman seems to be inserting something into the man's head. It appears as though she is controlling him in this way. This "something" could be a branch of the crown of thorns that the woman is wearing around her waist. The crown of thorns is a strongly Christian symbol and represents the suffering of Jesus. In general, it symbolizes humiliation, degradation, and shame. However, many Christians also see in her the assurance that all hidden suffering is seen and settled by God, which could make redemption a central thought of the image.
Due to the influences of symbolism, one can assume that nothing is left to chance here. That both women have reddish-brown curls must establish a connection between them. Curls, as well as the hair color red, were commonly considered signs of witchcraft at the time. The peak of the witch hunts in Europe occurred between 1550 and 1650, precisely the period that Ferri studied in depth. Thus, he could not avoid a topic that was so widespread and affected all areas of life.
Putting these puzzle pieces together, my interpretation suggests the following picture: The woman and the angel are the same person. The woman led a terrible life, was scorned or wrongfully accused (as was common for alleged "witches"), which is shown by the crown of thorns. While there were indeed persecuted "sorcerers," the stereotypical image is always associated with the feminine. Women were viewed as driven by their instincts until femininity as a whole was eventually demonized. Contrary to the stereotypical portrayal of the devil as a man, I assume that the woman represents Lucifer. Lilith, too, was pressed from the role of the independent woman into that of the evil, devilish character in the biblical creation story. It is not entirely unbelievable that Ferri would pick up on this motif.
Furthermore, the image was created in 2018; in our progressive age, one might assume that gender roles are seen as somewhat less rigid. This explains why the crown of thorns is located at her waist instead of on her head. Due to these circumstances, she longs for death, which explains why the woman leans against him. A person's first reaction would be to recoil, yet she cannot live without him. (One might think of the tortures endured by women denounced as witches in the early modern period.) Thus, the woman led the man to murder her. Or should I say, to redeem her? (The man could be seen as "the torturer." If one does not want to go that far, he can simply be viewed as "the threat" that makes her life difficult. In short, she drives her misfortune to the point of destruction, which in turn brings her redemption.)
After her death, however, the artist shows us the true nature of the damned. After her demise, she appears as an angel, which could be interpreted as a symbol of her purity. This assumption is supported by the fact that the standing, still living version of herself is painted in richer skin tones, while her dead version appears significantly paler. Thus, the tortured soul of the woman, like those of a thousand predecessors, was above all one thing: innocent.
Viewed from another perspective, one might suspect that the theme of the story is the man's love life. He fell in love with a proverbial angel, only to find out that his beloved later turned out to be a devil who wrapped him around her finger and manipulated him with her femininity (we recall that the "something" with which she controls him was a branch of the crown around her waist).
Death is present to take her old self, so to speak her "mask." She leans against him to emphasize that she has now switched to the "dark side," while the man mourns his old love.
Transposing this story onto the creation narrative, Adam could represent the man, and Lilith the woman, or the angel and the devil. After Lilith refused to submit to Adam, she became his enemy and fled from paradise to the devil. Eve also fits into this role after she became a sinner through the bite of the "forbidden fruit." Both women were initially angelic to Adam until an incident occurred that rendered them "bad" in his eyes.
The crown of thorns underscores this but could also reflect Ferri's views on both religious (female) figures; after all, Jesus is not a sinner either.
After so many metaphors, theology, and history, some might think: "Why does it always have to be so complicated? Can't the picture just be what it is?"
First, it should be clarified that you are in the wrong place if you think such thoughts in my blog. Hardly any artwork exists without depth. Aside from a few exceptions, every form of art contains a deeper meaning. Especially in symbolism, the search for a hidden meaning is essential to fully grasp and understand a work.
Furthermore, romanticism and academism, from which Ferri was influenced, draw on the mythological, literary, and historical generally accepted canon.
In conclusion, while I cannot arrive at a universal interpretation, this is often the goal of modern art. It is no longer desired to conjure a uniform interpretive possibility, just as a multitude of innovative ideas and worldviews are accepted in today's time.
It is said that an artist always puts a part of themselves into their work. I believe that the subjectivity of the reader, listener, or viewer is also a fundamental part of the experience.
Thus, experiencing art is always a communication between the artist and the recipient, making art an individual experience.
Other Notable Paintings by Ferri
Images from left to right, or from top to bottom, though some are unknown:
"LA NASCITA DELLE CONSZELLATIONI" - The Birth of the Constellations, 130 x 160 cm
Newer painting by Ferri. Exhibited in 2023 in Rome. Name, year, and size unknown.
"Schiavo dell'ombra" - Slave of the Shadow, 2018, 120 x 100 cm
Portrait of Pope Francis, 95 x 75 cm
"ACHILLE" - Achilles, 2018, 170 x 200 cm
"Touch of the Angel / The Black Wing" - Touch of the Angel / The Black Wing
Man with a cat's head, name, year, and size unknown.
"IL SOGNO DI ULISSE" - The Dream of Odysseus, 2022, 150 x 160 cm
"IL SACRIFICIO" - The Sacrifice, 2015, 32 x 43 cm
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