“David with the Head of Goliath” – a daring picture of Caravaggio. Is meaningful picture showing many paradigms of art. Contemporaries, in the middle of the seventeenth century, declared that the painting depicted the two heads of David and the giant Goliath, are the self-portraits of different stages of the artist’s life.
However, only a few art historians have noted the features of Caravaggio in both faces. About the presence of Goliath models go controversy. To the image of his face as a victim resorted namesake Caravaggio – Michelangelo. His face is imprinted on the skin of Bartholomew. Rembrandt was trying to achieve the same artistry in motion as Caravaggio, in a self-portrait with a dead drink.
In the same name, made previously Caravaggio , David as a model used is believed to model a street. Probably and opinions in this work that David – a self-portrait of the artist are wrong.
Even earlier, approximately in 1599, Caravaggio painted the first of three pictures on the theme of the Bible.
David’s weapon is a regular blade. Caravaggio could represent a heavy sword, but the hero gets an elegant and delicate as the brush knife. Location sword assumes an erect phallus. Michelangelo, Titian and other artists often use such sexual overtones in his works. The fact is that throughout the history of art, sexuality, art and architecture are closely connected to each other. The body and its functions revealed, it was thought, the wisdom of God’s plan.
Contemplative gaze of David contrasts with furrowed brows. Why did David look so thoughtful in this terrible scene? Frowning, clearly it indicates deep thought. Melancholic borders with pity for the vanquished. David, with all the drama of expressed emotion looks more like a loser, despite the obvious advantage. The general atmosphere of the painting reflects the darkness, fear and sorrow. To date, the paintings are in the Museum of the History of Art in Vienna. Only early “David and Goliath” is stored in the Prado Museum.