Portrait painting has been a primary form of the medium since pencil found paper. It has long been a custom of artists to capture there own likeness and place it on a canvas. This old and cherished tradition was largely driven by commissioned work which has given way to other mediums. Today portrait artist haslargely been replaced by photographers and camcorders. Commissioned portrait artists today will often be found sketching in the mall, or drawing pictures of suspects from a victim's description. Yet portraits and self portraits are still a favorite topic among artists. Self portraits are a particular favorite, in part because the model is never late. Some great artists of the past would often insert their image into their paintings. Michelangelo Merisi da Caravaggio, 1571-1610, was that kind of artist.

A classic Caravaggio can easily be recognized by the dramatic light. The illumination is filled with contrast, the composition bathed in bright and dark with no intermediate shades. It is an arresting display that grabs the viewer and directs the eye to the action. It is academically referred to as Tenebrism, the vivid contrast of light and dark. Caravaggio's shadow's hold little detail, creating a negative space that makes the subject explode off the canvas. His paintings are also noted for their emotional realism.

Caravaggio's initial public commissions, Martyrdom of Saint Mathew and Calling of Saint Mathew, brought him fame and business. Carvaggio was suddenly a celebrity and he had the personality to accompany it. He became known for his brawling behavior, showy personal displays and eventually had to flee Rome after killing a man in a brawl. Caravaggio was noted to carry a sword and dagger in public and in his later years began sleeping armed while fully clothed. Caravaggio left Sicily believing, with some evidence, that he was being pursued by assassins.

Caravaggio's best known self-portrait is one called Young Sick Bacchus. Academics have found his portrait in many of his works. In his painting, The Taking of Christ, Caravaggio is in the mob holding the lantern. In the painting The Musicians, Caravaggiopeers over the shoulder of the lute player, thought to be the face of Mario Minniti, an Italian artist and companion of Caravaggio's. In Caravaggio's rendering of the battle between David and Goliath, some believe that he is the face of David. In the latter versions of the scene he is thought to be both David and the face of Goliath. In his painting, The Martyrdom of Saint Mathew, Caravaggioappears in the distant center staring as Saint Mathew fall under the sword. Caravggio placed himself in the face of Medusa, a Roman Style painting.

There is debate and speculation as to how often he appears in his own paintings. It is a pastime for many like looking for Easter eggs. There is no question that Caravaggio painted himself in many of his paintings. In a lot of paintings he uses the same faces, often Mario Minniti. When you come across a painting by Caravaggio, look closely at the faces. Caravaggio might be looking at you.

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Article Submitted By: Connor Sullivan
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