The one exhibited in Ragusa just isn’t Caravaggio. VIDEO Ragusa

Scicli – The portray exhibited in Ragusa within the Badia church just isn’t by Michelangelo Merisi, often called Caravaggio. Vittorio Sgarbi has no doubts, having written an article for the weekly Panorama on this matter and likewise printed an interview with Video Regione on Saturday night whereas he was in Scicli.

So Sgarbi on Panorama: “Stimulated by the insistent Caravaggesque Conates of Ragusa presenting a ‘mendacity’ San Giovannino within the Church of Badia, I resumed the cautious examine of the attribution historical past, supported by a well-known scholar of Caravaggio, Mina will Gregori, and by a proficient restorer, Roberta Lapucci, in whose studio I noticed the portray for the primary time, I expressed little question and concluded that the concept, actually by Caravaggio, referred to a misplaced authentic, One other well-known and examined instance of the portray preserved in Munich to incorporate within the qualifying judgment.

I stated from the primary day I noticed this portray exhibited in Camaiore that I might not write about it, the truth is there is no such thing as a essay by me. I wrote an article saying that the work may be very fascinating and as with different works by Caravaggio – 9 are recognized from the “Maddalena”, ten from “San Francesco” – two variations of it are recognized. We see an fascinating work for examine as a result of it testifies to an invention by Caravaggio. The recipe comes from Caravaggio. An artist’s hand is like that of a tailor, a cook dinner. Right here we’re coping with the derivation of what’s believed to be a misplaced work by Caravaggio, the existence of which we have no idea, and the chef who made it isn’t Caravaggio.

I adopted the logic of the precept of the misplaced authentic. However I used to be fallacious, as a result of if not in copy, I had by no means seen the Monaco instance dwell. And I consider that solely the comparability, close to or far, can enable a secure judgement. It might even have been the perfect foundation for the Ragusa exhibition to match the 2 work. This chance has touched few students who’ve measured themselves in opposition to each.

So I felt it crucial to take a look at the Munich portray as effectively.

Caravaggio, Monk of Saint John the Baptist (John the Reclining).

ranging from the observations of the identical who declared for the “San Giovannino” exhibited in Ragusa:

St. John’s Mendacity, Malta

Mina Gregori and Roberta Lapucci.
The primary wrote after seeing it within the Eighties:

“Numerous compelling arguments enable the ‘San Giovannino’ examined right here to be traced again to Caravaggio. I’ve recognized the work for a few years and from the beginning took it for the good Lombard. The depiction of the half-recumbent saint is uncommon in conventional iconography and suggests the painter’s intention of preserving the determine of the younger man in elegant cadenzas, not like the formalists of the sixteenth century. In distinction to this exhibition, the younger man’s physique seems within the alternation of sunshine and shadow that emphasizes or hides him … The work is exclusive, as we have now already stated, additionally for the eye paid to the curtain that the Painter examined equally to “San Giovanni Battista” within the Galleria Borghese, the acknowledged late work of the Lombard painter. The significance of the portray as an authentic by Caravaggio is confirmed by the remark that the place of the precise arm was occupied by the Spanish painter Juan Bautista Maino, who was in Rome within the first decade of the seventeenth century. He had already returned to his homeland in 1611. Within the context of Spanish portray of the early seventeenth century, Maino seems because the Spanish successor to Caravaggio. His affiliation with the Italian grasp is clear and is confirmed by this portray, which is in a personal assortment. The acquisition of “San Giovanni Battista disteso” represents an necessary addition to Caravaggio’s catalog raisonné.”
The second, in a 1991 information sheet, refers back to the restoration carried out by Pico Cellini between 1977 and 1978, the outcomes of that are reported within the monograph “Michelangelo Merisi da Caravaggio. Pictor Praestantissimus” by Maurizio Marini, printed in 1987, involves the convincing conclusion:

“On the fringe of the crimson curtain that runs below the physique of the saint are splendid strokes of white lead (lengthy and determined); they current shut analogies of execution with the fabric circumstances of the “San Gerolamo” Borghese and the “Resurrection of Lazzaro” of Messina. The pose of the saint intently resembles that of the Virgin of the ‘Nativity’ of Messina … Within the facial element is simply too acknowledge that the brow was painted uncovered after which lined by the perimeter of hair. It is a characteristic that emerged from the X-ray and reflectographic examine of the face of ‘San Giovanni Battista’ within the Corsini Gallery in Rome.
The report of Carlo Giantomassi and Donatella Zari helps this restoration and diagnostic exercise:

“Typical of Caravaggio is the development of the determine with displacements (which, as Marini rightly factors out, impacts the left forearm) and changes. The phalanges of the left hand are elongated: how can we not discover that the fingers are virtually an identical to these of San Giovannino Borghese, with very pointed fingers, virtually unnaturally elongated; and that the shoulder, most likely stricken with a regret as a result of maybe the painter had thought the sting of the lambskin, reveals a curious deformation additionally within the portray within the Borghese Gallery? additionally the pointed knee and the extraordinarily elongated proper foot seem similar to these of the Borghese canvas, whereas the physiognomic options of the face present that it’s the similar mannequin. What painter, if not Caravaggio himself, might have portrayed or remembered the identical mannequin with the identical atypical preparation?
These profound and demanding statements are flanked by positions in favor of the Caravaggesque autograph by Michael Stoughton (1987), John T. Spike (1988), Stephen Pepper (1988), Vincenzo Pacelli (1991), Leonard J. Slatkes (1992). ), Federico Zeri (1998), Peter Robb (1998), Claudio Strinati, Rossella Vodret (1999), Gabriele Finaldi (2009), Bert Hits (2010), Fabio Scaletti (2014), Sergio Benedetti (2018), Sergio Rossi ( 2022).

The latter considerations me within the essay “Caravaggio within the mirror between redemption and damnation”:
“The work is self-attributed, as Vittorio Sgarbi wrote for the ‘Ecce Homo’ in Madrid, due to its visible significance, and since the blood-red of the Baptist’s cloak resembles the material masking the legs of the saint within the ‘Beheading’ of Valletta, to that of the gown of the Virgin within the ‘Adoration of the Shepherds’ of Messina, to the curtain of the opposite ‘San Giovannino’ (or ‘Pastor friso’) of the Capitoline Museums and eventually that of the cloak of Sant’Orsola of latest portray, now within the Palazzo Zevallos-Stigliano in Naples, and varieties a form of unmistakable signature of the final Caravaggio”.
Some, like Hitlers, went as far as to place the “San Giovannino” on their studio’s cowl. In any case, these positions pressured me to return to see my favourite model of Monaco.

Seen straight, the plastic values ​​and chromatic vibrancy of the crimson curtain verify Rossi’s phrases. And so the lunar naturalism of the bare components. The presence of vegetation on the bottom can be fascinating to revive the veracity of the surroundings.

Additionally the reference to the cross on the determine’s foot, as described in a 1691 Medici stock, is disregarded in relation to the Ragusa model, a non-decisive motive for the reason that “ft” is probably not understood actually, however as “one earth”.

In the end, my skepticism about each variations might be corrected within the perception that Munich’s “San Giovannino” is the unique Caravaggesque. Concerning the much less studied instance exhibited in Ragusa, we await the concrete and dialectic outcomes of the symposium, which is able to enable the curator Pierluigi Carofano to make a definitive judgement, having acquired the premises of different Caravaggio students presently hidden Has “.
Vittorio SGARBI Rome June 5, 2022

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