decoration: master of light and shadows ... Caravaggio 
The work that I used for the realization of this great dish is one of the first paintings by Caravaggio Rome: "Fruttarol.
's performance as a whole, presented several difficulties, not so much in the selection and cropping the image, but as to the choice of the support that I was not trivial and can be discounted as a table or a tela.Ho found in this great terracotta pot (50 cm in diameter) worked with a better frame of fruits in bas-relief, the ideal base for the idea that I turned in my head. I carefully prepared the base to accommodate the painting of the background: recreate the lights and shadows of Caravaggio, do not say that it is almost impossible, but it is a challenge ... I have come to the aid of the many years of oil painting. .. Created
the background, I placed the crop in one piece and started drowning: lots and lots of hands up to the disappearance of the step of the paper and after I did the gold leaf gilding flap embossed, burnished and polished con la pietra d'agata.Ho impreziosito il retro con un craquelè finissimo color oro su base nera.Questo lavoro è andato in Certificazione Découpage Italia nel 2008 premiato con una coccarda Arancione e si è classificato al Primo posto di un concorso su una rivista specializzata italiana.
Un po' di storia...
Adoro Caravaggio! Il suo tormento,la sua continua ricerca della semplicità nelle cose piu' sublimi e mistiche..
La sua vita si dibatte tra cronaca nera e grandezza artistica, genio amato, maledetto,contrastato , esaltato e perseguitato dai suoi contemporanei...troppo avanti, troppo oltre le vedute ristrette e compiacenti di un'epoca che gli stretta.Imbarazzante was his talent, his outrageous painting that began to model people who frequented the taverns to depict saints and madonnas ... blasphemous!
But they were real faces, wrinkles carved by sorrow and misery of a life which deprived them of everything they did dirty feet, dirty scandal at the prelates who had commissioned the "Madonna of the Pilgrims" ...
Death depicted in its rawness and reality in the "Raising of Lazarus" Lazarus is still a dead and lifeless as a model and had a real corpse, causing understandable resentment in the other extras in this painting, and above all the men that supported the body .. .
Death: theme loved by Caravaggio, he portrays himself the severed head of Goliath, held her by the hair by the hand of David. His unique signature in the trickle of blood coming out of the severed neck of a man condemned to death!
of public executions in that time, the authorities certainly do not awl, were always highly publicized event and the audience never failed ... even the young Michelangelo Merisi da Caravaggio arrived in Rome just witnessed an execution famous: that of the young Beatrice Cenci, and was so impressed that the theme of decapitation will use frequently in his paintings.
grown and matured in the midst of so much violence, he became violent, a man with a split personality, a wonderful artist inspired by God and man miserable, angry and in this duality there is the reading of his work: we are alone, and the mystery of life and destiny, misery and the eternal nature of man. Caravaggio
invites us to enter into his paintings, without filters, how does he portrayed in some paintings, but in a tight angle, as if we ourselves spectators of the scene "at that time" snapshot of a moment of our life but to which we were invited to participate ....
Shadows of Caravaggio are bright as its lights, is not a contradiction, in the shadow unravels a story that presents clear, the characters are sharp, even in darkness, the hand of Christ who ordered Lazarus to come back to life center stage, yet is in the foreground, same thing for the "Calling of St. Matthew: Christ in shadow, stretching out his hand to Matthew sitting at the table, in full light coming through a window and look at that question seems to ask" who ... ... I? "
lights and shadows, just as it was his short life, illuminated by sublime works he left us and obscured by the shadows of violence that first brought him into exile, condemned to death, and just when he was pardoned in his journey back in Italy, had the misfortune of being mistaken for another two days in jail and imprigionato.Rimane, then he can prove his identity, but it's too late, is captured by malarial fever and died alone on the beach at Porto Ercole. To centuries it was said that he was killed during an altercation with another "gentleman", and yet where he could not the sword or dagger could the disease.
was July 18, 1610: was 39 years old. The painters from across Europe had already begun to receive the news of his style, he was born thanks to a new art, but Michelangelo Merisi da Caravaggio had not had time to notice.
