sick bacchus (Michelangelo Merisi da Caravaggio) Aliejinis paveikslas, sumalbuotas rankomis tik jums vienam

Identification of the Sick Bacchus

The artwork titled sick bacchus is a painting by the Italian Baroque artist Caravaggio. Created in 1593, the work depicts Bacchus, the Roman god of wine and fertility. This specific piece is also recognized as the Self-Portrait as Bacchus. The title sick bacchus is attributed to Roberto Longhi.

This painting functions as an early self-portrait by Caravaggio. It captures the artist's likeness through the figure of the deity. The subject is shown reclining, presenting a specific physical state. The work is an oil on canvas.

Composition and Visual Elements

The composition centers on a young man reclining upon a bedsheet. He is positioned at a three-quarters angle, allowing the viewer to observe the tilt of his head and the specific contours of his face. A wreath rests upon his head, and his expression includes a smile. Despite this smile, his posture conveys a sense of vulnerability and illness. His gaze is directed toward the viewer, maintaining a look that is almost melancholic.

In his left hand, the man clutches several bunches of grapes. An apple rests on the surface beside him. The arrangement of these objects creates a specific spatial relationship between the figure and the still-life elements. The physical state of the man and the presence of the fruit establish the primary visual focus of the work.

Technique and Artistic Style

This oil on canvas work utilizes tenebrism to define its composition. The artist employs a dramatic chiaroscuro effect, creating stark contrasts between light and dark. These heavy shadows swallow the periphery of the scene, while a focused light source illuminates the central figure and the fruit. This method of lighting carves the subject out of an impenetrable black void, emphasizing the physical presence of the man and the textures of the grapes.

The depiction of tensed musculature shows the influence of Simone Peterzano. This anatomical detail is paired with the austere Lombard school style, which is evident in the artist's attention to realistic details. The work is a cabinet piece that was painted using a mirror. This approach allowed for the direct observation of the subject's form and the specific nuances of the skin tones.

History and Provenance of the Work

The provenance of this work is linked to the early collections of Giuseppe Cesari. It was held among the many works that comprised his collection. During this period, the painting was likely commissioned for Cardinal Scipione Borghese. This connection places the work within the sphere of high-level ecclesiastical patronage in Rome.

In 1607, the painting was seized by Cardinal-Nephew Scipione Borghese. This acquisition moved the work from the Cesari collection into the hands of the Borghese family. The piece remains associated with the Galleria Borghese in Rome, where it is currently housed.