Rome in all its glory

 

We booked tickets for the CARAVAGGIO exhibition as soon as we read about what sounded  as if it would be a remarkable one at The Palazzo Barberini in Rome.

We hadn’t accounted for the fact that Pope Francis died and the Conclave would be in full swing. Fortunately, the white smoke appeared a couple of days before we were due to leave, but Rome was still in a state of euphoria at the appointment of Pope Leo. The first American to hold the honour. He  sounds a worthy man.  He spent much of his life in Peru where he lived and worked with the poor and needy. He is fluent in seven languages, a mathematician (good for keeping an eye on the somewhat disorganised Vatican ‘books’), plays tennis and was close to Pope Francis.

But back to Michelangelo Merisi da Caravaggio who lived from 1571 – 1610.

Caravaggio is regarded as a Baroque master as well as a wild, uncontrollable human being – a gay icon of  17th Century Rome and wasn’t inhibited to kill when he was in a temper, no mere stomping of feet—he went all out and killed. Some of his paintings have been disputed and the three co-curators of the exhibition, Francesca Cappelletti, Maria Cristina Terzaghi and Thomas Clement Solomon, currently amongst the most distinguished specialists of his work, don’t shy away from this. Also interesting is that although several of the 24 are loans from around the world, about the same number are permanently located in Rome.

Rachel Campbell-Johnson gave the exhibition a 5-star rating describing it as ‘certainly a contender for the greatest Caravaggio show in history.‘

TheEye has no expertise to flaunt other than ‘she knows what she likes when she sees it’ and what makes Caravaggio’s great appeal to her and so many others? The exhibition which ends on July 5th has been sold out for months. People fly to Rome especially to see it. Caravaggio is in many ways a modern painter. ‘An unsurpassed master of light’, his stark realism and unparalleled emotional depth made him capable in a very real way of showing both innocence and violence. He was fortunate to have many wealthy patrons who offered him their hospitality whilst he was in hiding.

A naive young man is deceived by malice and cunning.

If TheEye were to pick her personal favourites from this wonderful exhibition it would certainly include The Fortune Teller and The Cardsharps  – both are visual stories that need no words – it’s all there for us to see. One of the great appeals of Caravaggio to young people is his filmic style. It’s possible to see the subtle action and chuckle.

Quite by chance we found ourselves with a few minutes to spare outside the church of SANTA MARIA DEI MIRACOLI in the Piazza Del Popolo, and thought we would take a look inside. And what a surprise we found.

Throughout the Cathedral were extraordinary works by MARCO MANZO, world famous  contemporary tattoo artist, sculptors, and designers whose work has been exhibited at the Gagosian Gallery and MOMA.   

To see such provocative work in a Cathedral with people looking rather stunned was an experience.

Powerful messages of anti-war and corruption.

There was just about enough time in our short stay to visit the market of CAMPO DE FIORE – a large market with excellent produce, pastas in strange shapes and technicolours, that must be bought only by tourists with no understanding of Italian food, olive oils and balsamic vinegars. The temptation to buy was great but the idea of lugging it home hit TheEye with a rare note of sense and reality.

But the winner of the day was a wonderful monthly calendar – similar  to the famous Pirelli calendar of a seductive model for each month – BUT – and the BUT is intentional – each month there is a young, attractive priest. Some sceptics (!) have made assertions that the priests are not what they appear, but models. Perish the thought of doubters.

There was only one problem with our trip to Rome: too short, but significant to be there for the spirit of joy for the inauguration of POPE LEO XIV – the first Augustinian Pope, born in Chicago.

And his first words to the patiently waiting crowd, ‘MAY PEACE BE WITH ALL OF YOU!’

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AN APOLOGY

In the last post released, ‘END OF AN ERA‘, the exhibition was actually at FONDATION LOUIS VUITTON and not the CARTIER FOUNDATION, as stated. The post has now been revised, but TheEye extends its apologies to anyone it might have misinformed.