Now available on the video of the show “CARAVAGGIO XXI: TABLEAUX VIVANTS”

Posted in Articles, Cinema, Documentaries, Video on 15 November 2014 by Amministratore



CARAVAGGIO XXI is a work of great visual impact yet extreme simplicity. One show only images and music they can enjoy the entire global audience. Using the technique of “tableaux vivants”, the scenes are composed of minimal elements (fabrics of varied colors and texture, common objects) which are used by the actors as they “compose” the 21 canvases in front of the audience. Once constructed, the paintings created the scene that would have appeared in the artists’ studio. The costumes and fine drapery are transformed in seconds by the ability of the actors who each take on the role of model, scenographer, costumer and props manager. The action is immobilized as if illuminated by one lone flash of lighting as one moment, one “perfect” gesture brings to life the heart of the painting. The impeccable iconographic precision, the expressive force of bodies and faces in the characteristic lateral “cut” of light, fully bring out the “poetry of reality” which constitutes what distinguishes the works of Michelangelo Merisi da Caravaggio.

With: Gaetano Coccia, Adriana Del Duca, Dora De Maio, Francesco De Santis, Chiara Giuliani, Francesca Lugnano, Mauro Milanese

Author & theatrical director: Ludovica Rambelli

Music from Bach, Mozart, Vivaldi and others

Producers: Stefano Mavilio (ArsTuaVitaMea) & Maria Teresa Pilloni (Studio Blu Production)

Movie director: Massimo D’Alessandro



The Trouble with Caravaggio: The artist’s first eighteen months in Rome explored

Posted in Articles on 30 May 2014 by Amministratore



LONDON.- This article concentrates on understanding the course of Caravaggio’s first eighteen months in Rome, and attempts to review the environment in which he gained recognition by dint of the support of the few who tolerated him, despite a character that was fundamentally at odds with all around. Only a few people found out about his invention before Cardinal Del Monte, his first major patron, and that was because not only did he arrive in Rome no more than eighteen months before he was taken under his powerful protection, but also because the artist himself had not fully realized his sensational abilities. A vulnerable individual who obviously had many problems that would never go away, it was his facility with imitation that meant that he was initially used to make multiple images and icons, and then likenesses of famous people, in the industry of souvenirs that flourished in the city, then as now. Alienated from his family and from his people in Lombardy, he came to Rome as a refugee with no means of support, probably leaving behind a chaotic existence matching his subsequent behaviour. Like his own reticence about what he was doing, the subjective reading of his art gives few clues as to the phenomenon of his personality, he viewed people and things in a fundamentally different way from his contemporaries, and latched on to the idea of imitation, at first applied to portraiture, rather than the idea del bello because of an almost savant-like ability to capture what he saw. . The realization that he arrived in Rome only towards the end of 1595, at the earliest, actually brings a welcome order also to subsequent events, and brings the man himself into more intelligible focus. It also demonstrates that his artistic development was radically different from that of other major painters of his time, who fashioned their images from their recollection and imagination . He was not the first painter to work from life as is usually ….. SEE MORE ON ARTDAILY.ORG

Culture meets couture: Caravaggio masterpiece previews… at Hong Kong mall (from South Cina Morning Post)

Posted in Articles on 23 March 2014 by Amministratore


In true Hong Kong style, preview of Italian masterpiece is held at glitzy shopping mall.

The Italian consul general behind next month’s Asian debut of one of Caravaggio’s masterpieces spoke of the city’s growing demand for culture yesterday – at a media preview held, in true Hong Kong style, among the big-name brands of Admiralty’s glitzy Pacific Place shopping mall.Organisers said work by local artists would be on show next to the classical Western work, juxtaposing cultures and giving a local context to the Italian artwork.Supper at Emmaus, painted in 1606, will be on view in a free exhibition called “Light and Shadows – Caravaggio, the Italian Baroque Master” at the Asia Society Hong Kong from March 12 to April 13.The painting, with an insured value of about HK$640 million, is on loan from the Pinacoteca di Brera gallery in Milan, an initiative promoted by the Italian consulate in Hong Kong – which brought another …. 

The hidden treasures at The Palace (from MALTA INDEPENDENT)

Posted in Articles on 23 March 2014 by Amministratore

4347199491-10-caravaggio-beheadingofthebaptist-The-hidden-treasures-atThe very last lecture in the series organised by Salvatore Musu was held last Monday, earlier than usual because of the coming Presidential changes.The talk was given by Mr Musu himself, but it was made much more interesting by the wonderful slides of Daniel Cilia. Knowing how these things work, these splendid pictures of The Palace’s art treasures will one day be appreciated in a glossy book, as happened in the past.A talk about the hidden treasures of The Palace could have some people asking whether there are still treasures that have not yet been discovered, but Mr Musu almost immediately revealed one such hidden treasure.He showed and proved that the doorway that stands in the background of Caravaggio’s famous Beheading of St John is an exact copy of the doorway of The Palace on Archbishop Street.Then followed shots of the basement of The Palace, where visitors are not allowed. There are the usual arches similar to any building from the Knights’…. SEE MORE ON MALTA INDEPENDENT


Why Russia should ban Michelangelo and Caravaggio’s gay ‘propaganda’ (from Jonathan Jones Art Blog)

Posted in Articles on 22 February 2014 by Amministratore

The Lute Player by CaravaggioRussia’s assault on the rights of lesbian, gay, bisexual and transgender people has not, after all, dominated the Sochi Winter Olympics – not yet anyway. Despite all the advance comment, once the sports start it seems that the world television audience switches off its brain and enjoys the skiing.

Perhaps art is a better battleground than sport. Because, if it observes the terms of its ban on the “propaganda of non-traditional sexual relationships” to the young, Russia should censor a couple of the greatest artistic masterpieces in its finest museum, where they can be seen by susceptible people of all ages.

Caravaggio’s painting The Lute Player is a jewel of the Hermitage Museum in St Petersburg. It also happens to be one of his most luxuriantly homoerotic works. A youth plays the lute, its music being a symbol of love in Caravaggio’s age: “If music be the food of love, play on…”

But what kind of love? Not the kind that’s OK with the Russian Duma. Caravaggio lingers on the youth’s big eyes, on the pretty scarf that ties his curly hair and on the loose shirt that reveals….. READ MORE ON JONATHAN JONES ART BLOG

New Exhibition at Muscarelle Seeks to Further Caravaggio Art Debate (from

Posted in Articles on 22 February 2014 by Amministratore

DSCF3212-300x203While scholars squabble over the attribution of two centuries-old paintings, the Muscarelle Museum of Art is putting the authority in the hands of its patrons.

The museum’s latest exhibition, Caravaggio Connoisseurship: “Saint Francis in Meditation” and the Capitoline “Fortune Teller,” features works by Italian painter Michelangelo Merisi, also known as Caravaggio. The exhibition opens to the public Saturday, but a VIP preview was held Thursday evening.

In the show are two nearly identical versions of “Saint Francis in Meditation,” which have sparked controversy in the art world.

Caravaggio is known for his realist depictions of daily life, and these images depict Saint Francis alone holding a skull. Both date to the beginning of the 17th century, around the time Caravaggio was hiding out after killing someone in a sword fight.

In 1908, the first “Saint Francis in Meditation,… READ MORE ON WYDAILY.COM

Forgotten Caravaggio On Show In Small Clerkenwell Museum (from Londonist)

Posted in Articles on 22 February 2014 by Amministratore

The-CardsharpsTucked away in a corner of Clerkenwell between Victorian apartments and modern offices, stands the 16th-century St John’s Gate, now part of the Museum of the Order of St John. During one of the regular guided tours of the museum, we were amazed to discover that the little-known historical home of the Order and St Johns Ambulance was also the new home of a long-forgotten Caravaggio painting. We spoke to the museum’s curator Tom Foakes about how an important piece of Baroque art has ended up on the walls of a small Clerkenwell museum.

Hi Tom, what can you tell Londonist about the Museum of St John’s latest loan?
The Museum has recently been loaned Caravaggio’s The Cardsharps. This is very exciting for the Museum for a number of reasons. The painting is from a private collection, and this is the first time that the painting has been put on long-term display. As the Museum of the Order of St John is free, it is now available for all to see. Caravaggio had a very close relationship to the Order, having fled to their Island home on … READ MORE ON LONDONIST

On Caravaggio’s lust, talent and power (by Jonathan Jones from The Guardian)

Posted in Articles on 27 May 2013 by Amministratore

Victorious CupidThe young man who arrived in Rome from the provinces – but fled after killing a man in the street – used sex to get attention, shocking his onlookers into recognising the rough realities of life.

It’s difficult to forget the first time I saw Caravaggio’s painting Victorious Cupid. I turned a corner in a museum in Berlin and my heart froze. Plainly, it is painted from life. A youth has stood naked in Caravaggio’s studio, wearing fake wings. The ragazzo grins cockily as he displays his flesh, in a light that somehow leads all eyes directly to, well, the penis of Cupid. It is overt sexuality, not romantic notion of love, that triumphs in this painting.

At his feet lie symbols of ambition and creativity: armour, musical instruments, mathematical tools, a crown. Cupid’s insolent nakedness and provocative smile declare casually that everything, in the end, is less important than sex. It is a precociously modern point of view. Caravaggio means it to be disturbing. His picture proves what it preaches. However you react to it – with shock, revulsion, embarrassment, fascination or confusion – you are caught in its compelling grip.

Caravaggio’s masterpiece is more than 400 years old – he painted it in 1601 or 2. It amazed his contemporaries. They saw it as a personal confession: to them it proved Caravaggio guilty of the crime they …… SEE MORE ON “THE GUARDIAN”


“ON CARAVAGGIO’s TRAIL” by Matt Rees, author of the novel “CARAVAGGIO: A NAME IN BLOOD”

Posted in Articles on 22 February 2013 by Amministratore


I went all over Europe and North America, tracking Caravaggio’s works and the places that touched his life for my novel A Name in Blood. But in particular I spent a great deal of time in Rome, Naples and Malta…. READ MORE AND VIEW PHOTOS ON MATT REES BLOG

Preserved bodies, EU funds and Caravaggio (from

Posted in Articles on 26 January 2013 by Amministratore

local_21_temp-1358593188-50fa7ca4-620x348The crypt beneath St Catherine’s parish church, in Żejtun, is a vaulted expanse with a cold slab stone floor. Characterised by silence, the crypt was built in the hole created by the cut stone used to build the church. It is a very humid place and bodies buried there in the past were well-preserved. When the crypt used to be cleaned more than just bones were transferred to the ossuary, according to Fr Gino Gauci. He is coordinating the transformation of the crypt into a visitors’ attraction as part of a wider project to create a heritage trail and museum within the Żejtun church. During a visit by Tourism Minister Mario de Marco yesterday, Fr Gauci recalled his experience as a child accompanying his father when the crypt was still being used to bury parishioners. “It was no miracle the bodies were well preserved. It was just the humidity,” the priest told a bemused minister. Visitors to the church will start the tour from the oratory and move on to the main church by passing through a narrow corridor. Fr Gauci explained that a large portrait depicting the beheading of St Catherine was believed to have been an abandoned sketch of Caravaggio’s beheading ….. READ MORE ON “TIMESOFMALTA.COM”


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