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David with the Head of Goliath (Caravaggio)
Encyclopedia
David with the Head of Goliath is a painting by the Italian Baroque
artist Caravaggio
. It is housed in the Galleria Borghese
, Rome. The painting, which was in the collection of Cardinal Scipione Borghese
in 1613, has been dated as early as 1605 and as late as 1609–1610, with more recent scholars tending towards the latter.
The immediate inspiration for Caravaggio is a work by a follower of Giorgione
, c.1510, but Caravaggio captures the drama more effectively by having the head dangling from David's hand and dripping blood, rather than resting on a ledge. The sword in David's hand carries an abbreviated inscription H-AS OS; this has been interpreted as an abbreviation of the Latin phrase Humilitas occidit superbiam ("humility kills pride").
David is perturbed, "his expression mingling sadness and compassion." The decision to depict him as pensive rather than jubilant creates an unusual psychological bond between him and Goliath. This bond is further complicated by the fact that Caravaggio has depicted himself as Goliath, while the model for David is il suo Caravaggino ("his own little Caravaggio"). This most plausibly refers to Cecco del Caravaggio
, the artist's studio assistant in Rome some years previously, recorded as the boy "who lay with him." No independent portraits of Cecco are known, making the identification impossible to verify, but "[a] sexual intimacy between David/model and Goliath/painter seems an inescapable conclusion, however, given that Caravaggio made David's sword appear to project upward, suggestively, between his legs and at an angle that echoes the diagonal linking of the protagonist's gaze to his victim." In the alternative and based on the portrait of Caravaggio done by Ottavio Leoni, it appears that this, the Borghese version of David with the Head of Goliath, may be a double self-portrait. The young Caravaggio (his own little Caravaggio) wistfully holds the head of the adult Caravaggio. The wild and riotous behavior of the young Caravaggio essentially had destroyed his life as a mature adult, and he reflects with a familiar hermeticism on his own condition in a painting of a not entirely unrelated religious subject.
The biographical interest of the painting adds another layer of meaning to an already complex work, David and Goliath standing for Christ and Satan and the triumph of good over evil in orthodox Christian iconography of the period, and also as the cold-hearted beloved who "kills" and his lover according to contemporary literary conceit, (An example of the genre can be seen in the contemporary Judith and Holofernes of Cristofano Allori
in the Pitti Palace, where Allori depicts himself as Holofernes) although Caravaggio has depicted David not as cruel and indifferent but as deeply moved by Goliath's death.
If the painting was a gift to Cardinal Borghese, the papal official with the power to grant Caravaggio a pardon for murder, it can also be interpreted as a personal plea for mercy. "David with the Head of Goliath [thus] demonstrates Caravaggio's gift for distilling his own experiences into an original sacred imagery that transcends the personal to become a searing statement of the human condition."
Baroque
The Baroque is a period and the style that used exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance, and grandeur in sculpture, painting, literature, dance, and music...
artist Caravaggio
Caravaggio
Michelangelo Merisi da Caravaggio was an Italian artist active in Rome, Naples, Malta, and Sicily between 1593 and 1610. His paintings, which combine a realistic observation of the human state, both physical and emotional, with a dramatic use of lighting, had a formative influence on the Baroque...
. It is housed in the Galleria Borghese
Galleria Borghese
The Borghese Gallery is an art gallery in Rome, Italy, housed in the former Villa Borghese Pinciana. It is a building that was from the first integral with its gardens, nowadays considered quite separately by tourists as the Villa Borghese gardens...
, Rome. The painting, which was in the collection of Cardinal Scipione Borghese
Scipione Borghese
Scipione Borghese was an Italian Cardinal, art collector and patron of the arts. A member of the Borghese family, he was the patron of the painter Caravaggio and the artist Bernini...
in 1613, has been dated as early as 1605 and as late as 1609–1610, with more recent scholars tending towards the latter.
The immediate inspiration for Caravaggio is a work by a follower of Giorgione
Giorgione
Giorgione was a Venetian painter of the High Renaissance in Venice, whose career was cut off by his death at a little over thirty. Giorgione is known for the elusive poetic quality of his work, though only about six surviving paintings are acknowledged for certain to be his work...
, c.1510, but Caravaggio captures the drama more effectively by having the head dangling from David's hand and dripping blood, rather than resting on a ledge. The sword in David's hand carries an abbreviated inscription H-AS OS; this has been interpreted as an abbreviation of the Latin phrase Humilitas occidit superbiam ("humility kills pride").
David is perturbed, "his expression mingling sadness and compassion." The decision to depict him as pensive rather than jubilant creates an unusual psychological bond between him and Goliath. This bond is further complicated by the fact that Caravaggio has depicted himself as Goliath, while the model for David is il suo Caravaggino ("his own little Caravaggio"). This most plausibly refers to Cecco del Caravaggio
Cecco del Caravaggio
Cecco del Caravaggio , is the name used for a Baroque artist working in Rome in the early decades of the 17th century, an important early follower of Caravaggio. He has been identified as Francesco Boneri , although this is not universally accepted.Little is known about Cecco del Caravaggio...
, the artist's studio assistant in Rome some years previously, recorded as the boy "who lay with him." No independent portraits of Cecco are known, making the identification impossible to verify, but "[a] sexual intimacy between David/model and Goliath/painter seems an inescapable conclusion, however, given that Caravaggio made David's sword appear to project upward, suggestively, between his legs and at an angle that echoes the diagonal linking of the protagonist's gaze to his victim." In the alternative and based on the portrait of Caravaggio done by Ottavio Leoni, it appears that this, the Borghese version of David with the Head of Goliath, may be a double self-portrait. The young Caravaggio (his own little Caravaggio) wistfully holds the head of the adult Caravaggio. The wild and riotous behavior of the young Caravaggio essentially had destroyed his life as a mature adult, and he reflects with a familiar hermeticism on his own condition in a painting of a not entirely unrelated religious subject.
The biographical interest of the painting adds another layer of meaning to an already complex work, David and Goliath standing for Christ and Satan and the triumph of good over evil in orthodox Christian iconography of the period, and also as the cold-hearted beloved who "kills" and his lover according to contemporary literary conceit, (An example of the genre can be seen in the contemporary Judith and Holofernes of Cristofano Allori
Cristofano Allori
Cristofano Allori was an Italian portrait painter of the late Florentine Mannerist school. Allori was born at Florence and received his first lessons in painting from his father, Alessandro Allori, but becoming dissatisfied with the hard anatomical drawing and cold coloring of the latter, he...
in the Pitti Palace, where Allori depicts himself as Holofernes) although Caravaggio has depicted David not as cruel and indifferent but as deeply moved by Goliath's death.
If the painting was a gift to Cardinal Borghese, the papal official with the power to grant Caravaggio a pardon for murder, it can also be interpreted as a personal plea for mercy. "David with the Head of Goliath [thus] demonstrates Caravaggio's gift for distilling his own experiences into an original sacred imagery that transcends the personal to become a searing statement of the human condition."