The
Roman
The Basilica of the Augustinians, associated with Pope Leo XIV’s religious order, houses an iconic painting.
Virgin Mary
By Caravaggio, the hit artist who transformed how light and shadow are used in Western art.
A fresh exhibition featuring pieces from the Baroque artist has opened for viewing.
Rome
up until July 6, providing time for a revised examination of his relationship with spirituality.
Starting with the Pilgrims’ Madonna housed within the Basilica of St. Augustine and ending with the depiction of the Martyrdom of St. Ursula as part of the “Caravaggio 2025” exhibition, both art experts and church officials are drawing attention to how religious faith intertwines with Caravaggio’s signature use of chiaroscuro.
The illumination guides us towards what he considers the essential elements of the narrative,” explained exhibition curator Francesca Cappelletti regarding the artist’s focus on prominent figures emerging from the advancing shadows. “Our life experiences gain significance solely when infused with an inner radiance.
The Caravaggio Madonna at the Basilica of the Augustinians
In the painting known as the Augustinian Madonna, created around the early 1600s, viewers are struck by the sight of a scruffy pair of pilgrims’ dusty heels directly before them as they bow beside an image of the Virgin Mary. The virgin herself appears relaxed leaning on a doorway while cradling a small child who represents Jesus.
This stark contrast sets it apart from typical ethereal and refined portrayals of most Madonnas. Consequently, this adds greater poignancy within the framework of Augustinian spirituality, as it captures the interaction between human nature and divine compassion, according to Reverend Pasqule Cormio, who serves as the basilica’s rector.
We believe that God wishes to reveal Himself to humans as one who walks beside the less fortunate,” Cormio stated. “Undoubtedly, this Virgin Mary is near those who may be weary, possibly hurt, definitely soiled by everyday existence.
The title of the Pilgrims’ Madonna alludes to both the two individuals preceding Mary and the historical aspect of how Augustinian monks have been greeting travelers heading towards the nearby Vatican from as early as the late 13th century.
The commissioning of this artwork came about as a tribute to a pilgrimage made to Loreto—a sacred site in central Italy believed to be the home of Mary, which was famously transported there through divine intervention. This information comes from Alessandro Zuccari, who is associated with Italy’s esteemed Accademia dei Lincei and authored the section discussing spiritual elements for the Caravaggio exhibition catalogue.
The spiritual essence of an insurgent creator
Indeed, even though Caravaggio led an adventurous life and produced art with stark realism, he worked for esteemed religious patrons such as a cardinal. There are records showing that he also took part in Catholic rituals like Eucharistic adoration, Zuccari noted additionally.
This description doesn’t align with the image of a rebellious “cursed artist” that Caravaggio — known as Michelangelo Merisi — gained over the years.
Zuccari stated, “We have no insight into Caravaggio’s thoughts since he didn’t leave behind any written records.” He went on to say, “I am persuaded, along with several other specialists, that Caravaggio possessed a distinct form of spirituality.”
Of approximately 70 paintings by Caravaggio, over 50 depict saints or biblical scenes—even those intended for personal collections rather than places of worship, he noted.
Devotional motifs featured throughout Caravaggio’s art showcased in new exhibition
Among the most recognized artworks are about two dozen paintings displayed at the Palazzo Barberini, spanning the period from Caravaggio’s move to Rome circa 1595 until his demise in 1610. These exhibits feature pieces borrowed from locations ranging from Dublin to Kansas City.
Caravaggio’s initial foray into religious art features Saint Francis of Assisi cradled in an angel’s embrace, with one of his early followers, Brother Leo, faintly discernible amidst the encroaching shadows around them.
This is one of the earliest instances of what they call “oscuri gagliardi” — a term referring to a striking darkness, according to a quote attributed to a 17th-century art critic displayed on an exhibition panel. The word “gagliardo,” which Roman locals continue to use nowadays, can signify anything from sandwiches like panini to individuals who possess a distinctive style and vigor.
In two additional religious artworks employing the same groundbreaking interplay of light and shadow, a disturbing twist emerges. Within “Judith Beheading Holofernes,” the Jewish heroine bears an expression of apparent revulsion as arterial spray gushes from her victim’s neck. Conversely, in “David with the Head of Goliath,” the freshly severed head dribbling blood is depicted as a self-portrait of the artist himself.
In what appears to be the artist’s final painting before passing away at 39 years old, and the last one featured in the new exhibition, Caravaggio depicted himself as well. In this work, he portrays himself as the figure peering out from the shadows with astonishment, his mouth agape, observing the moment when a soldier shoots an arrow into Saint Ursula’s heart.
Many of Caravaggio’s religious artworks can be found in various chapels around central Rome. Among these, “The Conversion of Saul,” for which an earlier rendition is featured in the exhibition, along with “The Crucifixion of Peter,” are located at Santa Maria del Popolo, another site associated with an Augustinian order. Additionally, three depictions related to Saint Matthew are housed within the San Luigi dei Francesi church.
A couple of blocks from there, at St. Augustine’s, visitors and sightseers still come to view the works of Caravaggio and other art pieces. For Cormio, this presents an opportunity to promote Augustinian spirituality among those who visit.
“Augustine also left us this teaching — that through the beauty of creation and the beauty of human works, too, we can capture something of the beauty of
God
,” he said.
___
The Associated Press receives assistance in covering religious topics via its partnership with The Conversation US, which is financially supported by the Lilly Endowment Inc. The AP maintains full responsibility for this material.
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