Saint Catherine of Alexandria Michelangelo Merisi da Caravaggio (1571-1610)
Michelangelo Merisi da Caravaggio – Saint Catherine of Alexandria
Edit attribution
Download full size: 2700×3501 px (2,5 Mb)
Painter: Michelangelo Merisi da Caravaggio
Album navigation:
Michelangelo Merisi da Caravaggio is considered the founder of realism in painting. Not a single sketch or drawing remains after him - Caravaggio translated all his ideas on canvases at once. The life of the artist was very peculiar. Characterized by a defiant and hot temper, he was constantly caught in some dark stories, was the instigator of fights, several times imprisoned, was twice accused of murder.
ArtClub
Best Contemporary Atists
Description of Michelangelo Merisi da Caravaggio’s painting St. Catherine of Alexandria
Michelangelo Merisi da Caravaggio is considered the founder of realism in painting. Not a single sketch or drawing remains after him - Caravaggio translated all his ideas on canvases at once. The life of the artist was very peculiar. Characterized by a defiant and hot temper, he was constantly caught in some dark stories, was the instigator of fights, several times imprisoned, was twice accused of murder. In the work of the artist the dominant place is occupied by male portraits and genre scenes with the participation of men. Most often the characters of Caravaggio - simple young men "from the crowd", bright, sensual, cheerful and somewhat rude. Such was the author himself.
The painting "St. Catherine of Alexandria" is a rare for the painter’s single portrait of a woman - although in facial features Catherine nevertheless resembles a boy. Catherine of Alexandria was the daughter of Xanthos, the ruler of Alexandria. The princess was very capricious, rejecting all potential suitors. Alexandria in those years was reputed to be one of the most enlightened cities, famous for its huge library and excellent schools. So Catherine received an excellent education. When she became queen, she converted to Christianity. Christ appeared to her in a dream and gave her a ring and from that time she considered herself a Christ’s bride. When the emperor Maximinus came to Alexandria to perform sacrifices and rites according to the pagan custom, Catherine burst into the temple and demanded that the emperor abandon the pagan gods and convert to Christianity. She was subsequently brutally executed and elevated to the rank of saint.
In the picture we see a very young girl in a white blouse embroidered with gold and a dark velvet dress. Her brown hair is parted and styled. A soft, half-child face, plump lips, neat lips, dark wary eyes-if it weren’t for the thin golden halo above her head, the image would be a portrait of an ordinary girl.
COMMENTS: 1 Ответы
Одна из немногих приятных для меня картин у Караваджо. И "Ужин в Эммаусе". Мастерство чудное. Свет, оттенки, фактуры – все прекрасно. И лицо Христа одно из лучших для меня.
You cannot comment Why?
The most striking element is the broken wheel positioned beside her. Its wooden spokes are sharply defined against the dark background, emphasizing its fractured state. The sword she holds in her hand, pointed downwards, further reinforces themes of suffering and sacrifice.
Here we see a deliberate use of chiaroscuro – the dramatic contrast between light and dark – which intensifies the emotional impact of the scene. Light falls primarily upon the woman’s face and upper body, highlighting her features and drawing attention to her gaze. The darkness enveloping the background creates an atmosphere of solemnity and isolation.
The artist has chosen a close-up perspective, focusing on the figures expression. Her eyes convey a complex mixture of sorrow, resolve, and perhaps even a touch of melancholy. This nuanced portrayal moves beyond simple piety; it suggests an interior life marked by profound experience. The positioning of her hands – one resting gently upon her chest, the other holding the sword – implies both vulnerability and strength.
Subtly, the painting explores themes of faith tested through adversity. The broken wheel, traditionally a symbol of torture, is not presented as a source of terror but rather as an object that has been overcome. This suggests a triumph over suffering, achieved through spiritual fortitude. The woman’s gaze, directed slightly downwards, might be interpreted as humility or contemplation, reinforcing the notion of inner strength derived from faith. The overall effect is one of quiet heroism and enduring grace.