The flogging of Christ (Caravaggio) – Wikipedia

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The Flagellation of Christ (an Italy: Flagellation of Christ ) is a painting painting probably painted in 1607 [ first ] and kept at the Capodimonte Museum in Naples in Italy. The same subject is represented in the table Christ in the column (1607) kept at the Museum of Fine Arts in Rouen.

This work was painted for the San Domenico Maggiore church in Naples started in May-June 1607, and possibly reworked by Caravaggio in September- , then in June- [ 2 ] as the many repentants demonstrate. This is work commissioned by the DI Franco family [ 3 ] , [ 4 ] , for which he had already achieved The seven works of Mercy , for the confraternity of Pio Monte della Misericordia.

The work is moved to a new chapel of the family of crosses, built in 1652, the Hair of the flagellation of the Lord . After three attempts to theft of its original location, the table was transferred in 1972 to the Capodimonte Museum in Naples.

Faced with the success of this painting, a new ” Flagellation du Christian », Commanded by the local clergy, is made in Valette (Malta) in 1608 [Ref. necessary] .

This work is very close, by its composition, of several preliminary works of the same iconography, those of Sebastiano del Pimbo [ 5 ] , De Federico Zuccaro [ 3 ] or Andrea Vaccaro [ 6 ] .

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The enlightened Christ is placed in the center, his light spreads to his three executioners and very weakly on the column that we barely distinguish behind, at the top, and below, on his base. As usual, Caravaggio replaces classic figures with more cattle faces, revealing dark flesh, all in a House Clos Supported by his tenebrism. The figure of the character on the left is similar to that of the executioner of his Salomé executed the same year (it could be the painter himself [ 7 ] ).

Radiographs of the work revealed several repentants including the primary intention of Caravaggio to insert at the bottom left of the sponsor, a sketch remained without follow -up.

The martyrdom of Christ is only accompanied by his executioners without any spectator (which could explain the pictorial repentance of the presence of the initially sketched sponsor) on the contrary of the iconography of the subject which places Pilate, Judas or the Virgin at the time of this torture. This scene of torture (flogging) leaves no trace strange on the body of Christ (lacerations of the flesh that many faithful will have sworn to have seen [ 7 ] ).

Painting is part of the imaginary museum of the French historian Paul Veyne, who describes it in his work precisely entitled My imaginary museum [ 8 ] .

  1. ↑ Sybille Ebert-Schiffer ( trad. German), Carage , Paris, Hazan editions, , 319 p. (ISBN  978-2-7541-0399-2 ) , p. 295
  2. ↑ Description on the site of the Museum of Fine Arts in Rouen
  3. ↑ a et b Michel Hilaire, Caravaggio, the sacred and life , Herscher, coll. “The miniature museum”. – 33 paintings explained (ISBN  2-7335-0251-4 ) , p. 56-57
  4. ↑ or crosses, according to Gérard-Julien Salvy
  5. ↑ of the church of St.ucci in Montorio to Rome
  6. ↑ 2 Hues in the tub of the church of the church of the church of the church of the church of Naples de Naples and in the staatisselie de Schleissement (Salvy, p. 222).
  7. ↑ a et b Gérard-Julien Salvy, Caravaggio , Gallimard, coll. « Folio », 2008 (ISBN  978-2-07-034131-3 ) p. 220-223
  8. ↑ Paul Veyne, My imaginary museum, or the masterpieces of Italian painting , Paris, Albin Michel, , 504 p. (ISBN  9782226208194 ) , p. 426 .

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