ROME (AP) 鈥� The Roman basilica of 鈥� religious order 鈥� preserves an iconic painting of the by Caravaggio, the blockbuster artist who revolutionized the use of light and darkness in Western art.
A new exhibit of works by the Baroque painter is now on view in Rome until July 6, allowing for an updated look at his connection with spirituality.
From the Pilgrims鈥� Madonna at the Basilica of St. Augustine to the Martyrdom of St. Ursula that closes the 鈥淐aravaggio 2025鈥� exhibit, art historians and clergy are highlighting the connections between religious belief and Caravaggio鈥檚 鈥渃hiaroscuro."
鈥淚t鈥檚 the light that directs us toward what for him are the key points of the story,鈥� exhibit curator Francesca Cappelletti said about the artist鈥檚 spotlight on the main characters that emerge from encroaching darkness. 鈥淥ur life experience makes sense only if invested by a spiritual light.鈥�
The Caravaggio Madonna at the Augustinians' Basilica
In the Augustinian Madonna, dating from the early 1600s, what hits the viewer at eye level are the dirty soles of a ragged pilgrim couple's feet as they kneel by the apparition of the Virgin Mary. She leans casually against a door frame as she holds a toddler-size Jesus.
It鈥檚 a far cry from the usual otherworldly, genteel depictions of most Madonnas. That makes it even more poignant within Augustinian spirituality, because it illustrates the encounter between man鈥檚 nature and God鈥檚 mercy, said the Rev. Pasquale Cormio, the basilica鈥檚 rector.
鈥淲e see God鈥檚 wish to show himself to humankind as someone who walks alongside the poor,鈥� Cormio said. 鈥淚t鈥檚 certain that this Virgin Mary is close to a perhaps tired, perhaps wounded, certainly dirty humanity that is burdened by daily life.鈥�
The name of the Pilgrims鈥� Madonna references not only the two figures before Mary, but also the fact that on this spot, the Augustinians have welcomed pilgrims en route to the nearby Vatican since the end of the 13th century.
It was to commemorate a pilgrimage to Loreto 鈥� a shrine in central Italy where tradition says Mary鈥檚 house was miraculously airlifted 鈥� that the painting鈥檚 well-connected patrons commissioned it, said Alessandro Zuccari. A member of Italy鈥檚 prestigious Accademia dei Lincei, he wrote the chapter on spirituality in the Caravaggio exhibit catalog.
The spirituality of a rebel artist
In fact, despite his adventurous life and bluntly realistic art, Caravaggio worked for prestigious, pious patrons, including a cardinal, and is documented to have participated in Catholic rites including , Zuccari added.
That hardly fits the reputation for a transgressive 鈥渁ccursed artist鈥� that Caravaggio 鈥� whose full name was Michelangelo Merisi 鈥� accrued over the centuries.
鈥淲e don鈥檛 know what Caravaggio thought, because he left no writings,鈥� Zuccari said. 鈥淚鈥檓 convinced, as are other experts, that Caravaggio has his own spirituality.鈥�
Out of about 70 paintings by Caravaggio, more than 50 represent saints or Biblical scenes 鈥� even those destined for private collections, not churches, he added.
Religious themes across Caravaggio's work at new exhibit
Some of the best-known are among the two dozen paintings on view at Palazzo Barberini, covering the time from Caravaggio鈥檚 arrival in Rome around 1595 to his death in 1610. They include works on loan from Dublin to Kansas City.
There鈥檚 Caravaggio鈥檚 first religious painting, , who鈥檚 depicted in an angel鈥檚 arms while one of his early companions, Brother Leo, is barely visible in the surrounding darkness.
It鈥檚 an early example of those 鈥渙scuri gagliardi鈥� 鈥� a bold darkness, as a 17th century art critic quoted in an exhibit panel put it. 鈥淕agliardo鈥� is a slang word Romans still use today to mean everything from panini to people with a special flair and power.
Two other religious paintings with the same innovative use of light and darkness take a gruesome turn. In Judith Beheading Holofernes, the Jewish hero frowns in seeming disgust at the blood spurting from his neck. In David with the Head of Goliath, the dripping severed head is a self-portrait.
In what鈥檚 probably the artist鈥檚 last painting before dying at age 39, and the last exhibited in the new show, Caravaggio also portrayed himself. He鈥檚 the man peeking, stunned and openmouthed, from the darkness at the soldier who鈥檚 just shot an arrow into St. Ursula鈥檚 chest.
More of Caravaggio鈥檚 religious paintings are in chapels downtown Rome. The Conversion of Saul, an early version of which is in the exhibit, and the Crucifixion of Peter are in Santa Maria del Popolo, also an Augustinian community. Three paintings about St. Matthew are in San Luigi dei Francesi church.
Two blocks away, back at St. Augustine鈥檚, pilgrims and tourists continue to flock to see Caravaggio and other artwork. For Cormio, welcoming them is a chance to encourage Augustinian spirituality.
鈥淎ugustine also left us this teaching 鈥� that through the beauty of creation and the beauty of human works, too, we can capture something of the beauty of God,鈥� he said.
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Associated Press religion coverage receives support through the AP鈥檚 with The Conversation US, with funding from Lilly Endowment Inc. The AP is solely responsible for this content.
Giovanna Dell鈥檕rto, The Associated Press
