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Blood Joining Blood: The Immersive in Caravaggio’s Malta

Sydney J. Freedberg Lecture on Italian Art, 2024

Keith Sciberras, University of Malta

In his final years, Caravaggio painted The Beheading of Saint John the Baptist (1608) for the altar of a Maltese church. In this talk, Keith Sciberras of the University of Malta dives into Caravaggio’s use of complex spatial relationships and audience immersion, supported by his decades of site experience and archival research.

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A woman and two children, all with pale skin and flushed cheeks, sit together in a landscape in this round painting. The woman takes up most of the composition as she sits with her right leg, to our left, tucked under her body. Her other leg, on our right, is bent so the foot rests on the ground, and that knee angles up and out to the side. She wears a rose-pink dress under a topaz-blue robe, and a finger between the pages of a closed book holds her place. Her brown hair is twisted away from her face. She has delicate features and her pink lips are closed. She looks and leans to our left around a nude young boy who half-sits and half-stands against her bent leg. The boy has blond hair and pudgy, toddler-like cheeks and body. The boy reaches his right hand, on our left, to grasp the tall, thin cross held by the second young boy, who sits on the ground next to the pair. This second boy has darker brown hair and wears a garment resembling animal fur. The boy kneels facing the woman and looks up at her and the blond boy. The trio sits on a flat, grassy area in front of a body of water painted light turquoise. Mountains in the deep distance are pale azure blue beneath a nearly clear blue sky.

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