Madonna and Child with St. Anne Michelangelo Merisi da Caravaggio (1571-1610)
Michelangelo Merisi da Caravaggio – Madonna and Child with St. Anne
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Painter: Michelangelo Merisi da Caravaggio
Location: Borghese gallery, Rome (Galleria Borghese).
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"Madonna Palafrenieri" was the first title of Michelangelo Caravaggio’s painting of St. Anne, Mary and the boy Christ. The figure of Mary is most dynamically painted, the child set in motion under the gentle guidance of his mother, while the elderly Anne is at a distance in humble repose. "Madonna and serpent" - the second name was given to the canvas because the painter depicted the serpent as another main character personifying the evil beginning.
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Description of Michelangelo Merisi da Caravaggio’s Madonna and Serpent
"Madonna Palafrenieri" was the first title of Michelangelo Caravaggio’s painting of St. Anne, Mary and the boy Christ. The figure of Mary is most dynamically painted, the child set in motion under the gentle guidance of his mother, while the elderly Anne is at a distance in humble repose.
"Madonna and serpent" - the second name was given to the canvas because the painter depicted the serpent as another main character personifying the evil beginning. The Mother of God and Jesus, in the role of light forces, press the head of the serpent with their feet, symbolically trampling sin. The Madonna does not simply slay the serpent, but sets an example for her child and teaches her to fight the dark forces.
Caravaggio worked on a painting commissioned for the central altar of the Church of St. Anne in Rome. Begun in 1605 and completed a year later, the "Madonna" was in the cathedral only a few days. The painter’s art, bold for its time, often aroused the indignation of his contemporaries, especially the church officials who protested. Apparently, the clergy was unhappy with Caravaggio’s desire to humanize the divine: to overthrow the objects of worship from their pedestal and bring them as close to people as possible. The master depicted the most revered saints so realistically and casually, as if he were painting the first people he met on the street.
The artist worked in the heyday of Baroque - this is expressed in the dramatic theatricality of the canvas. Caravaggio’s distinctive manner is a clear contrast between darkness and illumination of the characters. The striking work on light and shadow, the unity of action, the rich emotional content of the characters and the excessive frankness in their portrayal make the artist’s religious painting original, truthful and complete.
Because of rejection by the Church, the Madonna and Serpent was included in the collection of paintings by the Scipione Borghese, and is now on display in the villa of the princely family of the same name in Rome.
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The central figure, the child, appears to be actively engaged, his body angled forward as he extends a hand towards the older woman. His nudity is striking and draws immediate attention, suggesting vulnerability and innocence. The older woman, also marked by a golden halo, wears a muted grey garment that obscures her form somewhat, creating an impression of quiet contemplation. Her expression appears gentle, almost melancholic, as she looks down at the child.
A significant element lies in the dramatic use of light. A powerful beam illuminates the figures from an unseen source high above and to the left, casting deep shadows across the background and highlighting specific areas of their bodies – particularly the child’s torso and the younger womans face. This chiaroscuro effect intensifies the emotional impact of the scene, creating a sense of theatricality and spiritual significance.
At the base of the composition, partially obscured by shadow, lies a small, curved object – likely a toy or cradle – that seems abandoned or forgotten. Its presence introduces an element of narrative ambiguity; it could symbolize lost innocence, the passage of time, or perhaps a foreshadowing of future events. The darkness surrounding the figures serves to isolate them, emphasizing their spiritual nature and creating a sense of profound introspection.
The overall effect is one of quiet drama and complex familial relationships. The interaction between the three women – the youthful mother, the grandmother, and the child – suggests themes of lineage, faith, and divine connection. The painting’s power resides not only in its technical mastery but also in its ability to evoke a sense of mystery and profound spiritual contemplation.