Maurizio Bernardelli CuruzAdriana Conconi Fedrigolli

YOUNG CARAVAGGIOONE HUNDRED REDISCOVERED WORKS

The discovery that revolutionizes our understanding of the artist

VOLUME II

In the first volume, already available as an e-book:

The life of young Caravaggio, information about and photographs of the sites relevant to hischildhood and youth

An unpublished protest note found in the archive of the workshop where the young artist trained traced by expert analysis to Caravaggio

Merisis first important contribution as a painter (1590), including the production of nine portraitsthat he would later re-use in well-known works from the Roman period

The revelation of the face, until now unknown, of Costanza Sforza Colonna, the woman whoprotected Caravaggio until his death

The search for drawings in the archive of the workshop where Merisi received his training: theidentification of the style of the master and that of the student

On the cover: CARAVAGGIO, Judith beheadingHolofernes, 1599 -1600 ca., Rome, Galleria NazionaledArte Antica (Palazzo Barberini)

YOUNG CARAVAGGIOONE HUNDRED REDISCOVERED WORKSThe discovery that revolutionizes our understanding of the artistby Maurizio Bernardelli Curuz e Adriana Conconi Fedrigolli

Research team:Maurizio Bernardelli CuruzAdriana Conconi Fedrigolli(coordination)

Enrico GiustacchiniMariacristina FerrariFrancesca Roman(collaboration)

Consulting: Roberto Martorelli

Fiscal and legal consulting:Studio Roberto Fedrigolli

Graphological consulting:Anna Grasso Rossetti

eBook post-production:

Cassa Padana BCC

Fondazione Dominato Leonense

Editorial and artistic consulting:Maurizio Bernardelli Curuzand Adriana Conconi Fedrigolli

Translations:

Multilingue AdvancedCommunication ServicesBrescia

Stile arte magazineEditor:Maurizio Bernardelli CuruzRegistration at the Brescia courthouseno. 41/1995 on 27.10.1995

Completed: February 29, 2012

FEATURES Pre-set horizontal orientation of the eBook; Fixed page numbering; Hypertext links; Georeferenced links;

The innovations used in this eBookYoung Caravaggio - One Hundred Rediscovered Works. The discovery that revolutionizes our understanding of the artist was designed usingthe latest techniques in page layout.A normal eBook consists of a text file that can be freely personalized, increasing or decreasing the font size and changing the reading templateor the font used.This kind of eBook is disadvantageous to a few types of publications for which images and a specific layout are essential. Such books includeart books, photography books, comics and children's literature.The innovations of the new KF8 format include the precise interpretation of the book's graphic layout, the correct positioning of images andcaptions, the correct orientation of the book and a clear, intuitive page index.In order to avoid the misalignment of the book content, a few functions are disabled, including choice of font and font size, choice of readingtemplate and page renumbering.The design of an eBook in KF8 format involves very complex planning that yields results of sure effect and unmatched richness of content.In this book, in addition to finding coordinated illustrations and texts, you can use hypertext and georeferenced links that will lead youthrough the places visited during the research.The icon indicates map indicates that you can be redirected to the place cited on the page.

Table of Contents008-179 - One-hundred drawings by the young Caravaggio, read in light of well-known paintings180-190 - Stylistic debts to his master, Simone Peterzano191-206 - Analysis of the drawings with a serpentine line and triglyphs207-240 - Transformation of the acquired models into works from the Roman period: close analysis of the Calling of Saint Matthew and the Entombment241-253 - The reconstruction of a working canon of proportion254-277 - Some attribution hypotheses for canvases made before the move to Rome278-284 - 1592 a year of departures285-292 - Peterzanos portraits of his student293-305 - The drawings and personal memories find a place in the intense Roman portraits: The Madonna/Mother306-309 - Objections, questions, answers310-313 - Appendix

314 - The authors315-336 - Bibliography337-342 - Archival sources343-345 - Photographic references and acknowledgements

More than 80 drawings that referpaintings and more than 20 studies

have been discovered.They are by the hand of Caravaggio

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Castello Sforzesco: the archive of the works ofCaravaggios maestro, Simone Peterzano, also includesnumerous works by some of his students. We haveidentified the works by the young Merisi, establishinghis particular methods as a draughtsman and placingthe images in relation to paintings from his artisticmaturity.

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View of the Torre del Filarete of the Castello Sforzesco, seen from the Piazza Castello inMilan

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Entrance to the Gabinetto dei Disegni,accessed from the courtyard of the CastelloSforzesco

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The singularity of the discovered drawings The more than eighty drawings presented here find

correspondence in Caravaggios paintings They are characterized by stylistic unity, despite

having been produced over the four-year period ofMerisis workshop training, between 1584 and1588. They are not works by Peterzano

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Students were expected to memorize drawings() it is necessary to sketch the idea as best can bedone, always keeping in mind, however, drawingsalready made ().

Bernardino Campi, Parer sopra la pittura, 1584

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Among the sheets that we have identifiedare sketches taken up

again years later in Rome

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Caravaggios extant drawings were made over a periodof at least four years, between 1584 and 1588, during atime of powerful development linked to his personalgrowth and intense artistic training. The earliestsketches were made at thirteen years of age. The latestat eighteen years and older. This time span determinesdiffering results in the individual sheets, which throughthis study the reader will slowly become accustomedto, grasping the elements of continuity.

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The surprising origins of the facesof The Cardsharps

Two small portraits in pencil, charcoal and ink, madein Milan when Caravaggio was between sixteen andseventeen years old, can very nearly be superimposedover the faces of two figures in the painting TheCardsharps, painted in Rome between 1595 and 1596.

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CARAVAGGIO, The Cardsharps, 1595-96, oil on canvas, 94.2 x 130.9cm, Fort Worth (Texas, Usa), Kimbell Art Museum

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The drawing presented here is not a preparatory work for the painting but ratherderives from Caravaggios research during his years of training in Milan. Thecomparison is therefore stylistic, iconographic or physiognomic

CARAVAGGIO, The Cardsharps(detail)

CARAVAGGIO, Male head, 357 x258 mm, Milan, Gabinetto deidisegni del Castello Sforzesco,Fondo Peterzano, inv. no. 4875/1158 A 1717/481

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CARAVAGGIO, The Cardsharps, 1595-96, oil on canvas, 94.2 x 130.9cm, Fort Worth (Texas, Usa), Kimbell Art Museum

The drawing presented here is not a preparatory work for the painting but ratherderives from Caravaggios research during his years of training in Milan. Thecomparison is therefore stylistic, iconographic or physiognomic

CARAVAGGIO, The Cardsharps(detail)

CARAVAGGIO, Study of a head,218 x 171 mm, Milan, Gabinettodei disegni del Castello Sforzesco,Fondo Peterzano inv. no. 4875/507B 1802/352 Recto

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CARAVAGGIO, The Cardsharps,1595-96, oil on canvas, 94.2 x 130.9 cm,Fort Worth (Texas, Usa), Kimbell ArtMuseum

CARAVAGGIO, The Cardsharps(detail)

The drawing presented here is not a preparatory workfor the painting but rather derives from Caravaggiosresearch during his years of training in Milan. Thecomparison is therefore stylistic, iconographic orphysiognomic

CARAVAGGIO, The Cardsharps (detail in b/w)

CARAVAGGIO, Study of a head, 218 x171 mm, Milan, Gabinetto dei disegnidel Castello Sforzesco, Fondo Peterzanoinv. no. 4875/507 B 1802/352 Recto

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The Boy bitten by a lizardThe drawing that we will see on the next page is not apreparatory study for the well-known painting made inRome, but rather a sketch produced years earlier in theLombard capital. The work indicates how Caravaggiomaintained, even in portrayed physiognomies, strikingcontinuity between his period of training in Milan andthe work he carried out in the pontifical state.

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CARAVAGGIO, Boy bitten by a lizard, 1594, oil on canvas,65.8 x 52.3 cm, Florence, Fondazione di Studi di StoriadellArte Roberto Longhi

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CARAVAGGIO, Study of a head, 357 x 258 mm, Milan,Gabinetto dei disegni del Castello Sforzesco, FondoPeterzano, inv. no. 4875/559 B 1802/354

The drawing presented here is not a preparatory work for the paintingbut rather derives from Caravaggios research during his years oftraining in Milan. The comparison is therefore stylistic, iconographic orphysiognomic

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CoverColophonTable of ContentsOne-hundred drawings by the young Caravaggio, read in light of well-known paintings