Lute Player Michelangelo Merisi da Caravaggio (1571-1610)
Michelangelo Merisi da Caravaggio – Lute Player
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Painter: Michelangelo Merisi da Caravaggio
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Caravaggio’s painting "The Luteist" or "Young Man with a Lute" is a striking exhibit in the Hermitage. But the painting is also on display in several other museums around the world, such as the Metropolitan Museum of Art in New York. And experts still do not agree on which of the works is the original, and which are only copies. Caravaggio created his picture in 1595 commissioned by Cardinal del Monte.
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Description of Michelangelo Merisi da Caravaggio’s The Young Man with the Lute
Caravaggio’s painting "The Luteist" or "Young Man with a Lute" is a striking exhibit in the Hermitage. But the painting is also on display in several other museums around the world, such as the Metropolitan Museum of Art in New York. And experts still do not agree on which of the works is the original, and which are only copies.
Caravaggio created his picture in 1595 commissioned by Cardinal del Monte. Size 100 by 126 centimeters. And it is done in oil. In the picture the artist depicted a boy who plays on a strange instrument. He is holding a lute, an instrument that was popular in the Middle Ages.
The boy was not accidentally chosen for the pose. Everyone believes he was a friend of Caravaggio. In addition, the artist portrayed him several times in his paintings. The young man has dark, thick hair. He is dressed in a plain white shirt. On his right hand lies his black cloak carelessly. His mouth is slightly open, but you can see that he is enjoying playing an instrument.
On the left side of the picture are flowers, a bright bouquet where we see yellow daisies, small red roses and the usual wildflowers. And in front of the guy with the lute is a table.
On it are notebooks where you can even look through the lines. Also on the table is a violin and a bow. Perhaps the boy in the picture is a talented musician who plays several instruments. Next to this "musical mess" on the table are ripe fruits.
Caravaggio liked the painting itself very much. He liked everything: his friend, the composition, the subject, the colors. By the way, the artist approached the choice of tones with the utmost responsibility. In this picture, warm tones dominate.
On the left side of the picture, the author clearly wanted to add some bright spots. Thus, he drew flowers and fruit. Without them, the painting would have been executed in exclusively milky hues.
During its existence, the painting has traveled a lot, in Russia it appeared in the 19th century.
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In the Hermitage Museum, there is a painting by Caravaggio called The Lutenist. Approaching the canvas, at first glance, we perceive the delicate notes emanating from irises, daisies, jasmine, rose hips, and Damascus roses, along with a refreshing stream of scent from peach and orange leaves. Following this are the fruity themes of the still life (figs, plums, pears) depicted on a table made of artificial marble, which connects us to the space of the painting.
The combination of flower and fruit symbolism in the image of the lutenist, singing about love, affirms the harmony between the divine and the earthly, heaven and earth. Even if the assertion of the still life genre in painting occurred two decades after Caravaggios time, this Lombard artist is considered a precursor to the genre.
The persistent desire to imitate nature through the depiction of floral and fruit compositions is a form that carries not only specific content but also a certain moral self-expression. To reproduce the aroma hidden within The Lutenist composition, ten main notes were chosen: six floral and three fruity, based on which a perfume composition was created and placed in the Hermitage Hall in front of the painting.
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The artist has employed a dramatic use of light – a single, powerful source illuminating the man’s face, hands, and the lute he holds. This stark contrast between illuminated areas and deep shadow creates a theatrical effect, drawing immediate attention to the central figure and emphasizing his physicality. The darkness enveloping the background serves to isolate him, intensifying the focus on his performance and inner state.
The still-life arrangement on the table is rich in symbolic potential. A vibrant bouquet of flowers occupies the left side, their freshness juxtaposed with the decaying fruit scattered amongst them. This pairing introduces a meditation on transience – the fleeting nature of beauty and life itself. The presence of musical notation alongside the lute and violin further underscores the theme of artistic creation and its inherent connection to mortality. The sheet music appears incomplete or unfinished, hinting at an ongoing process, a work perpetually in progress.
The man’s attire is simple: a white tunic and a loosely tied headscarf. This unadorned presentation contributes to his air of youthful innocence and perhaps suggests a rejection of worldly concerns. His expression is complex; it isnt overtly joyful or sorrowful but rather contemplative, hinting at an emotional depth that transcends the immediate act of playing music.
The overall composition evokes a sense of melancholy and quiet contemplation. The artist seems less interested in depicting a specific moment of musical performance than in exploring themes of beauty, decay, creation, and the passage of time through the figure’s interaction with his instruments and surroundings.