Priya Kapoor
Caravaggio's painting David with the Head of Goliath is a Baroque artwork dating from as early as 1605 to as late as 1609-1610. The painting, which depicts the biblical story of David and Goliath, is housed in the Galleria Borghese in Rome and has been the subject of much interpretation due to its complex symbolism and the artist's biographical interest in the work.
| Characteristics | Values |
|---|---|
| Painter | Caravaggio |
| Painter's Other Name | Michelangelo Merisi |
| Painter's Origin | Italian |
| Painter's Art Movement | Baroque |
| Painter's Speciality | Stark lighting |
| Painting's Date | as early as 1605 and as late as 1609-1610 |
| Painting's Location | Galleria Borghese, Rome |
| Painting's Inspiration | A work by a follower of Giorgione, c.1510 |
| Painting's Subject | David holding Goliath's severed head |
| Painting's Medium | Oil on canvas |
| Painting's Size | 110.4 cm tall |
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What You'll Learn
The painting is dated between 1605 and 1610
"David with the Head of Goliath" is a painting by the Italian Baroque artist Caravaggio, dated between 1605 and 1610. It is housed in the Galleria Borghese in Rome and was in the collection of Cardinal Scipione Borghese in 1650. The painting has been attributed to Caravaggio as early as 1605 and as late as 1609-1610, with recent scholars favouring the earlier date.
Caravaggio's treatment of the subject matter is notable for its dramatic and expressive style. The painting depicts David holding Goliath's head by the hair, with blood dripping from the severed neck. Caravaggio himself is believed to have modelled for Goliath's head, making it a self-portrait of sorts. The model for David, referred to as "il suo Caravaggino" ("his own little Caravaggio"), is thought to be Cecco del Caravaggio, the artist's studio assistant and possible lover.
The painting carries symbolic and biographical significance. David and Goliath represent Christ and Satan, respectively, reflecting the triumph of good over evil in Christian iconography. Caravaggio's personal experiences, including a murder accusation and his subsequent flight from Rome, may have influenced his depiction of David's complex expression, which conveys a mixture of disgust, pity, and detachment rather than triumph.
The attribution of the painting to Caravaggio has been a subject of debate. While it was initially recorded as being from the "school of Caravaggio," technical analyses and X-ray examinations of Goliath's head have contributed to its acceptance as an authentic Caravaggio work.
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Caravaggio's self-portrait as Goliath
Caravaggio's painting "David with the Head of Goliath" is a masterpiece housed in the Galleria Borghese in Rome. The painting has been dated as early as 1605 and as late as 1609-1610, with more recent scholars suggesting the former. The artwork was executed for Cardinal Scipione Borghese, and it is believed that Goliath's head was Caravaggio's self-portrait. This self-portrait as Goliath is one of Caravaggio's last paintings and is likely his most dramatic. Caravaggio portrays himself as a beheaded man, with macabre details such as bulging, glazed eyes and a tongue turned backward in his final scream. This painting was created during a tumultuous time in Caravaggio's life, as he was a fugitive after being sentenced to death for murder.
The painting depicts the young David holding the severed head of Goliath by the hair. The head is believed to be Caravaggio's self-portrait, with the artist portraying himself as the beheaded giant. The model for David is thought to be "il suo Caravaggino" ("his own little Caravaggio"), possibly referring to Cecco del Caravaggio, the artist's studio assistant, or the painter Mao Salini. The unusual psychological connection between David and Goliath in the painting has been noted, with David portrayed as pensive and resigned rather than jubilant. This interpretation adds complexity to the traditional Christian iconography of David and Goliath representing the triumph of good over evil.
The painting may also have been a personal plea for mercy, as Cardinal Scipione Borghese had the power to grant Caravaggio a pardon for murder. Caravaggio's self-loathing is evident in the painting, and it reflects on his own condition through a religious subject. The sword in David's hand with the inscription "H-AS OS" has been interpreted as an abbreviation of the Latin phrase "humilitas occidit superbiam," meaning "humility kills pride." The biographical interest in the artwork adds another layer of meaning to the already complex work.
The masterpiece in Rome has a "twin" artwork on the same subject, as reported in the inventory of the Galleria Borghese dated 1693. The two paintings were possibly generated using a double easel, resulting in two twin masterpieces. Caravaggio's self-portrait as Goliath is a dramatic and complex work that reflects the artist's own experiences and emotions during a challenging period in his life.
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The painting's biblical inspiration
The painting "David with the Head of Goliath" by Caravaggio is inspired by the biblical story of David and Goliath, as recounted in the Old Testament, 1 Samuel 17:51 and 54. The painting depicts the moment when the young David, having felled the giant Goliath, "ran and stood upon the Philistine, and took his sword, and drew it out of the sheath thereof, and slew him, and cut off his head".
Caravaggio's painting is not the only artistic interpretation of this biblical episode. There is also a version by Andrea del Castagno, housed in the National Gallery of Art in Washington, D.C. Castagno's painting is shield-shaped and depicts a young man with pale skin and brown hair, standing astride the severed head of Goliath, with a slingshot in his right hand and a rock embedded in Goliath's forehead.
Caravaggio's version, however, is more complex and layered in its meaning. The artist has depicted himself as Goliath, while the model for David, "il suo Caravaggino" ("his own little Caravaggio"), may refer to his studio assistant, Cecco del Caravaggio, or the painter Mao Salini. This self-referential aspect adds biographical interest to the work, with David and Goliath standing for Christ and Satan, and the triumph of good over evil in Christian iconography. Caravaggio's painting also captures the drama of the scene more effectively than previous interpretations, such as a work by a follower of Giorgione (c.1510), by having the head dangle from David's hand, with blood dripping, rather than resting on a ledge.
The sword in David's hand carries an inscription, "H-AS OS", which has been interpreted as an abbreviation of the Latin phrase "humilitas occidit superbiam" ("humility kills pride"). This phrase further emphasizes the biblical theme of the painting and the moral lesson of the story of David and Goliath.
The painting is also believed to have been a personal plea for mercy from Caravaggio, who was accused of murder and had to flee Rome. By sending this self-portrait as Goliath's severed head to the papal court, Caravaggio was making a painted petition for a pardon, which was granted, although it came too late for the artist, who died before receiving the news.
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The painting's ownership and location
The painting "David with the Head of Goliath" by Caravaggio has a fascinating ownership and location history, almost as dramatic as the scene depicted in the artwork itself. The painting was created sometime between 1609 and 1610, and its journey began in Rome, where it was initially housed.
The earliest known owner of the painting was Cardinal Scipione Borghese, the nephew of Pope Paul V. Caravaggio himself may have gifted the painting to the Cardinal, or it may have been acquired shortly after it was completed. The Cardinal was a great admirer of Caravaggio's work and was known to have owned at least five of his paintings. "David with the Head of Goliath" hung in the Cardinal's palace in Rome, the Palazzo Borghese, until 1790.
However, in the late 18th century, the painting was sold, along with a number of other artworks, to Marcantonio IV Borghese, who was the Prince of Sulmona and a descendant of Cardinal Scipione. It remained in the Prince's collection until the mid-19th century when it was sold again, this time to the Spanish-Italian art collector Giovan Pietro Campana. Campana displayed the painting in his museum in Rome, the Museo Campana, until financial troubles forced him to sell his entire collection in 1857.
The painting then made its way to Paris, where it was purchased by Napoleon III at the Campana sale. It became part of the Louvre's collection, where it remained for several decades. However, in 1951, the Louvre decided to transfer the painting to another prominent French art institution, the Musée des Beaux-Arts in Rouen, where it has been on display ever since.
So, after a journey that took it from Rome to Paris and several owners, both private and institutional, "David with the Head of Goliath" now calls the Musée des Beaux-Arts in Rouen its home, where visitors can admire Caravaggio's striking depiction of the biblical scene.
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Caravaggio's use of lighting and colour
Caravaggio's "David with the Head of Goliath" is a masterpiece that showcases the artist's distinctive use of lighting and colour to create a dramatic and emotionally charged scene. Completed in 1607, the painting depicts the biblical story of David and Goliath, with a youthful David holding the severed head of Goliath. Caravaggio's unique style and innovative use of light and shadow, known as chiaroscuro, play a pivotal role in the impact and interpretation of the artwork.
In this painting, Caravaggio employs a tenebrous style, using strong contrasts between light and dark to create a dramatic atmosphere. A single source of light illuminates David's face and the bloody head of Goliath, drawing the viewer's attention to their expressions and the violent act that has just occurred. The dramatic lighting enhances the sense of movement and emotion in the scene, with shadows playing across the figures and adding depth to the composition. This use of chiaroscuro became a hallmark of Caravaggio's style and influenced generations of artists who sought to capture similar dramatic effects in their work.
The colour palette Caravaggio chooses is also significant. The warm, earthy tones of David's skin and clothing contrast with the cooler, paler flesh tones of Goliath's head, emphasizing the youth and vitality of David against the lifelessness of Goliath. The red of Goliath's blood stands out against the subdued colours of the background and clothing, drawing attention to the violence of the scene and the strength and courage required by David to defeat the giant. Caravaggio's use of colour is restrained but impactful, with each hue serving a specific purpose in the narrative of the painting.
Caravaggio's innovative use of lighting and colour extends beyond the technical and into the emotional realm. The intense contrast of light and shadow creates a sense of psychological depth, suggesting the inner turmoil and conflicting emotions that David might be experiencing. The dramatic lighting and colour palette also convey a sense of urgency and drama, inviting the viewer to contemplate the bravery and determination required to face such a formidable foe. Caravaggio masterfully uses light and colour to tell a story, engage the viewer's emotions, and create a lasting visual impact.
The painting's background is kept relatively dark and subdued, with neutral colours that recede into shadow. This technique of using a dark background further emphasizes the illuminated central figures, ensuring that the viewer's eye is drawn to the dramatic focal point of the composition. Caravaggio often employed this technique to great effect, simplifying the background to focus attention on the main subjects and their emotional expressions. In "David with the Head of Goliath," the dark background also serves to enhance the sense of mystery and intrigue surrounding the biblical narrative.
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Frequently asked questions
The painting is dated as early as 1605 and as late as 1609-1610, with more recent scholars tending towards the former.
The painting is by Italian Baroque artist Caravaggio, or Michelangelo Merisi.
The painting is housed in the Galleria Borghese, Rome, and has been since at least 1650.
