Welcome to the ROBERTO BASERGA GALLERY-THE MASTERPIECES OF CARAVAGGIO THE OFFICIAL WORKS OF THE FORKER
a project in collaboration with Photo Istant Exhibition. A multimedia collection that is also an exquisitely artistic project strictly dedicated to the fake author.
THE WORKS IN THE GALLERY
. Portrait of the knight of Malta .Copy of reference . Caravaggio Uffizi Florence
.Madonna of Loreto.Copy of reference.Caravaggio.Church of Sant'Agostino.Rome
.San Girolamo.Copy of reference.Caravaggio.Co-Cathedral of San Giovanni.Valletta.Malta.
.Inbelief of Thomas. Copy of reference. Caravaggio. Bildergalerie-Sanssouci. Potsdam. Germany.
.Madonna dei Palafrenieri.Copy of reference.Caravaggio.Galleria Borghese.Rome
. Fall of Saul. Copy of reference. Caravaggio. Church of Santa Maria del Popolo. Rome
.Taking of Christ.Copy of reference.Caravaggio.National Gallery of Ireland.Dublin
.San Jerome in meditation.Copy of reference.Caravaggio.Pinacoteca di Santa Maria Monteserrat.Barcelona.Spain
.San Francesco.Copy of reference.Caravaggio.Museo Civico Ala Ponzone.Cremona.
.Cena inEmmaus-particular.Copy of reference.Caravaggio.Brera.Milano
.San Girolamo writer.Copy of reference.Caravaggio.Galleria Borghese.Rome
.Sacra Famiglia-particular.Copy of reference .Caravaggio.Collection Otero Silva.Caracas.
.Ecce Homo.Copy of reference.Caravaggio.Palazzo Bianco .Genoa
THE INCREDULITY OF SAN TOMMASO
critical analysis by Roberto Baserga
Synthetic but anonymous cut that overwhelmingly enhances the characters gathered in a perceptible semicircle. The Christ with showy pose, a tunic that reveals the clean chest and without signs of martyrdom. Specular detail and in comparison of style with the heavy paintings that can be traced in the faces of the disciples .Caravaggio paints the canvas in a different way from tradition. The Savior is not empirical but a flesh and blood character. From the account of John's Gospel the moment of recollection is suggested.In the canvas it is anonymously continuous, persisted in a profound use of lights and shadows.For the monographic papers the work is connected to the probable client, the banker Vincenzo Giustiniani.
Canvas mentioned in the Inventory dating back to 1638, with twelve important masterpieces by the hand of Merisi: the courtesan Phyllis, a Crucifixion and a Magdalene. with the great southern works. Burial of St. Lucia and Resurrection of Lazarus. If it is the painter's autograph, the date should be calculated around 1606 but not later. For Longhi's studies the hypothesis of copy, but not of authenticity. For subsequent criticism, the data of the drafts and the synthetic and precise plot of the characters lead us to consider that canvas, the real painting. The other version at the Uffizi in Florence presents anologies with the style of early canvases and the great Roman masterpieces in San Luigi dei Francesi. The strongly gloomy darkness does not enhance the textures of the face of Christ, so often repeated to the clothes and material details that fit the poses and the physique of each character.The grimace is hardly perceptible, and the shadows induce a heavy use of pale light and almost absent from yellowed colors.
The profiling of Thomas very similar to the groom that restrains the boorish instinct of the horse in the canvas - Fall of Saul: suggests the suspicion of a probable prototype already used, so the highly played poses in the space that emotionally involves those who observe the painting in the rich and insistent plots.
The copy presented is a painting of 100x140 cm. It belongs to a Private Collection. It was possible to respect the light that invests intensely the figures, in a staccato with little shadow but essential in the illusion of a probable movement between the half heads. The Christ with the thick youth, the showy grimace and also the clean texture of the yellowed tunic that reveals for three quarters the chest without flagella. The climate of lucid concentration, emphatic in the construction of gestures and soft paintings. The 'incredulous' disciple, with showy frontal wefts and the tunic material, dirty and worn. Thus the other purely synthetic disciples, in plots that are not dark but repeated in a background alluding to a daily event and possible at any moment. in the direct observation of the spectator who sees what manifests itself in the plot absolutely respecting the composition of high and natural drama.