Blog Post #4: Baroque Blog Assignment

David with the Head of Goliath

 David with the Head of Goliath, Caravaggio, 1610, oil on canvas

    Caravaggio's David with the Head of Goliath is a staple Baroque artwork and one of the more jarring ones. First and foremost, we see the aftermath of the Biblical story of David and Goliath, where David, a young shepherd, managed to defeat the behemoth enemy warrior Goliath in battle. The victor is in the center of the painting, with rapid brush strokes and prominent Baroque tenebrism accentuating his heroic features. The head of Goliath is held in the corner of the painting by his executioner in agonizing humiliation. David, while triumphant, appears sickened by what he's done. This scene is very dramatic, also a common Baroque feature, and is understandably shocking for first-time viewers. The story of David and Goliath is the original underdog story, with David besting the beast against all odds. It's interesting that David wields a sword in David with the head of Goliath, as the original story in the Bible depicts David landing the killing blow unto Goliath with a stone from his sling. "David ran toward Goliath. He quickly threw a stone with his sling. The stone hit Goliath in the forehead, and the giant man fell to the ground. The Lord helped David defeat Goliath without a sword or armor." 1 Samuel 17:48–50. Caravaggio deviates from the story by omitting David's sling and instead giving him the sword. This expounds the beheaded Goliath, another feature that isn't necessary Biblically-accurate.

    What's truly shocking about David with the Head of Goliath is that it's much more than a depiction of the story in the Bible. Caravaggio was accused of murder in 1606 and fled to Italy. As a request for pardon, David with the Head of Goliath was sent to the Papal court in 1610. Why did he create and send this painting in particular? Goliath's head in the painting is actually a self-portrait of Caravaggio himself, begging for forgiveness to the court. This is verified by several other of his self-portraits that match the face of Goliath. Caravaggio's pardon was ultimately granted, but he passed in Porto Ercole before ever finding out.

    Unlike previous artwork I've discussed for this class, David with the Head of Goliath is not one I necessarily relate to or 'enjoy,' nor one I'd want to have hung in my living room. The Baroque era was known for its dramatic work, and this painting is no exception. It's the extent to which is goes beyond other Baroque works in this domain that made it stick out to me and want to write about it. It's a fascinating painting though, especially considering the backstory associated with it.

    The influences for David with the Head of Goliath are difficult to truly nail down. We know the painting was created as Caravaggio sought a pardon. What led to the choices Caravaggio made in the process of this painting though? The closest I can get to the options given in the prompt for an influence to this painting is the Council of Trent, but the general religious and economic tension in Western Europe that ultimately led to the Thirty Years' War is also a key factor. While the religious aspect of this painting is not the primary focus, its inclusion helps explain Caravaggio's intent. "David and Goliath stand for Christ and Satan and the triumph of good over evil in the orthodox Christian iconography of that period, as well as a cold-blooded lover who “kills” his lover according to modern literary vanity" (Borghese). David and Goliath represent much more than the characters they play in their story. We already know Caravaggio is putting himself in Goliath's position in the painting, showing his remorse and guilt as he begs the church for forgiveness. The Council of Trent was responsible for reforming the Catholic church in the mid-1500s, while religious tension still remained as Caravaggio painted David with the Head of Goliath and led to the Thirty Years' War in 1618.

    

Judith Beheading Holofernes, Caravaggio, 1598-99, oil on canvas

    

    When looking for Renaissance paintings to compare David with the Head of Goliath to, Judith Beheading Holofernes stuck out during my Google Images search. After this, I discovered that this was another of Caravaggio's pieces, painted shortly before David with the Head of Goliath. I was going to find another piece instead, since Caravaggio seems to walk the line between the Renaissance era and the Baroque (both in terms of time and style), but I decided it would be interesting to compare two of Caravaggio's pieces. The first similarity I noticed was the beheading. Caravaggio seems to really like beheadings, which is a ironic for someone who later begs for forgiveness after being accused of murder. Judith Beheading Holofernes is also a very dark and dramatic work, incorporating tenebrism in a similar fashion to David with the Head of Goliath. These features are less prominent in Judith, but hold true within Caravaggio's style. 

    Overall, I really enjoyed this assignment after struggling to get the ball rolling. Caravaggio's technique and scene selection are truly engrossing and I hope I've been able to open your eyes to his work. Thank you for reading!

Works Cited

“Dark Ages and Renaissance Art Masters.” Dark Art and Craft, https://darkartandcraft.com/blogs/news/the-renaissance-masters-of-dark-art.

“David with the Head of Goliath, 1610 by Caravaggio.” David with the Head of Goliath, 1610 by Caravaggio, https://www.caravaggio.org/david-with-the-head-of-goliath.jsp

“David with the Head of Goliath by Caravaggio.” Galerie Borghèse, https://borghese.gallery/collection/paintings/david-with-the-head-of-goliath.html.

“David and Goliath.” The Church of Jesus Christ of Latter-Day Saints, https://www.churchofjesuschrist.org/study/manual/old-testament-stories-2022/david-and-goliath?lang=eng.