Taking of Christ (attr.) Michelangelo Merisi da Caravaggio (1571-1610)
Michelangelo Merisi da Caravaggio – Taking of Christ (attr.)
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Painter: Michelangelo Merisi da Caravaggio
Location: National Gallery, Dublin.
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The painting, painted by master Michelangelo Caravaggio, is located in Dublin, Ireland, and its exact copy was in Odessa, Ukraine, until the moment of the sensational theft. The Bilean subject at the heart of the painting tells of the last day of Jesus Christ’s life on earth. It is known that Christ was betrayed by Judas, a faithful disciple of Christ, who pointed out to the guards the place where the Savior lived.
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Description of Caravaggio’s The Kiss of Judas
The painting, painted by master Michelangelo Caravaggio, is located in Dublin, Ireland, and its exact copy was in Odessa, Ukraine, until the moment of the sensational theft. The Bilean subject at the heart of the painting tells of the last day of Jesus Christ’s life on earth. It is known that Christ was betrayed by Judas, a faithful disciple of Christ, who pointed out to the guards the place where the Savior lived. It is known that the picture was painted by Caravaggio, a late Mannerist, commissioned by Matteo Chiriaco. For many years the painting was considered unsuccessfully lost, but at the end of the twentieth century it was nevertheless identified by a Society of Jesus in Ireland.
The history of the painting’s movement is still very confusing, and there is a known case of a copy of the painting being taken from the West European and Oriental Art Museum in Ukraine. For a long time it was the "Odessa copy" that was considered the original or original sketch. Until now there are serious disputes about the origin of these two paintings, and art historians are still unable to come to a consensus on the issue.
Caravaggio’s paintings mostly belong to the movements of realism and mannerism, and The Kiss of Judas is a canonical example for the Caravaggists, as this painting absorbed all the skill and mannerist technique of the artist. Above all, the rejection of canonical Renaissance art is strongly visible - there are no static poses, facial expressions do not speak to inner feelings, no use of classical local colors, significant accents on light and shade.
Mannerism, in turn, is characterized by a harmonious, non-contradictory state of mind of the portrayed and their external emotions, Caravaggio exposes perception, makes the paintings sensual and full of emotion. "The Kiss of Judas" is above all an emotional canvas that reveals the experience of the characters. On Iscariot’s face we see a mad fanaticism, a grimace of anguish and subservience, his hands clasped tightly to Jesus, he expresses his devotion through the betrayal that Jesus experiences by bowing his eyes, he knew that betrayal would happen and only humility is seen on his face. Caravaggio makes a characteristic emphasis on the lighting within the painting, as if light rays down from above.
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The figures surrounding him are diverse in their reactions. One individual, positioned closest to the central figure, appears to be actively restraining him, his grip firm and resolute. Another reaches out with a gesture that conveys both desperation and protest. A soldier, clad in full armor and helmet, stands prominently on the right side of the scene, seemingly overseeing or participating in the capture. His presence introduces an element of authority and institutional power into the narrative. The soldier’s face is partially obscured by his helmet, adding to a sense of impersonal force.
The artist employs dramatic chiaroscuro – a stark contrast between light and shadow – to heighten the emotional impact. Intense illumination focuses on the faces and upper bodies of the key figures, drawing attention to their expressions and gestures. The surrounding darkness serves to isolate them within a claustrophobic space, amplifying the sense of confinement and vulnerability experienced by the man being seized.
The color palette is dominated by warm tones – reds, browns, and yellows – which contribute to the overall feeling of intensity and urgency. The red cloth draped over the shoulders of the central figure serves as a visual focal point, drawing the eye and perhaps symbolizing sacrifice or suffering.
Beyond the literal depiction of an arrest, the painting suggests themes of power versus resistance, innocence against aggression, and the disruption of personal freedom. The varied expressions on the faces of those involved – ranging from anguish to determination – hint at complex motivations and conflicting loyalties within the group. The composition’s dynamism, achieved through the twisting bodies and reaching limbs, conveys a sense of immediate action and unresolved conflict.