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Caravaggio’s 〈David with the head of Goliath〉 (fig. 1-2) has been interpreted as the most tragic work among the self-portraits of painters. Because Caravaggio’ s commitment of murder in his real life provided the documents that made the cruel self-portrait whose face was Goliath interpreted as the sense of guilty. But we have to examine if scholars’ novel-like interpretations were close to the Caravaggio’ s real working situation. The purpose of this paper is to point out the problems of these interpretations and to grope the new research direction.
The interpretations up to the present are roughly divided into two trends depending on who is the David’ s model. The scholars who insist David’ s model is Cecco, Caravaggio’ s young assistant, interpret this work as having a homosexual subject. “Renaissance artists’ use of the members of their entourage as models was a common practice, but assuming that Caravaggio in fact cast his friend as David, his own self-identification with the beheaded Goliath might be associated with the humanistic concept of love which saw in the lover a victim of his beloved.”
The others who suppose the David’s model is the young Caravaggio, say that this work has double self-portraits. In this case the scholars applied the phsyco-analistic method to the relation between the work and the fugitive Caravaggio’ s life after the commitment of murder. Hibbard interprets this self-portrait with Goliath’s face as “an explicit selfidentification with evil and with a wish for punishment”. He also interprets “Caravaggio as not only the beheaded Goliath, … but also the youthful beheader. Caravaggio’ s unconscious identification may have been as much with the killers as with the victims : he was in fact a murder.”
But we have to examine if it is reasonable that the character of the subject figure can be identified with the model. Scaramucia, 17th century painter and Bellori, the art critic, left documents which supported that Caravaggio always worked with the model in front of him. Caravaggio, in fact, used the same model in his works for Isaac in 〈The Sacrifice of Isaac〉 (fig. 11), for St. John in the 〈St. John the Baptist〉 (Pinacoteca Capitolina) and for David in 〈David with the head of Goliath〉 of Vienna (fig. 9). Especially, K. Christiansen who examined the 〈The Sacrifice of Isaac〉(fig. 11) in X-Ray, made clear that Isaac and the angel of the work were the same model. In this case we cannot identify the model, Cecco, Caravaggio’ s young assistant, simultaneously with Isaac and Angel, with john Baptist and with David. By analogy, it is not reasonable to identify Goliath with the real Caravaggio either.
As Bellori and Mancini wrote, if Caravaggio had found figure types and composed them, models of his works had merely a playacting role. From this points of view, impatient and combative Caravaggio was the right actor for Goliaith’ s role. Many scholars who interpret the Caravaggio’ s 〈David with the head of Goliath〉 as homosexuality or as double portrait that express the Caravaggio’ s sense of guilty and redemption, are trying to connect the work to his personal life. But I think that they make mistake in applying the view of expressionism to the art of the 17th century. Caravaggio is not an expressionist of the 20th century. The works in the 17th Century are not outputs of self-expression, but ordered prouducts. It has to be understood in the context of the custom in the art production at that time.
Baglione put in 1625 as follows : “he(Caravaggio) was paid more for his portraits than others obtained for their history pictures, such is the value of recognition by the people, who judge not with their eyes but look with their ears.” This might imply that those works whose evil-like model was just himself were very popular and made many people have some curiosity in those days.
The interpretations up to the present are roughly divided into two trends depending on who is the David’ s model. The scholars who insist David’ s model is Cecco, Caravaggio’ s young assistant, interpret this work as having a homosexual subject. “Renaissance artists’ use of the members of their entourage as models was a common practice, but assuming that Caravaggio in fact cast his friend as David, his own self-identification with the beheaded Goliath might be associated with the humanistic concept of love which saw in the lover a victim of his beloved.”
The others who suppose the David’s model is the young Caravaggio, say that this work has double self-portraits. In this case the scholars applied the phsyco-analistic method to the relation between the work and the fugitive Caravaggio’ s life after the commitment of murder. Hibbard interprets this self-portrait with Goliath’s face as “an explicit selfidentification with evil and with a wish for punishment”. He also interprets “Caravaggio as not only the beheaded Goliath, … but also the youthful beheader. Caravaggio’ s unconscious identification may have been as much with the killers as with the victims : he was in fact a murder.”
But we have to examine if it is reasonable that the character of the subject figure can be identified with the model. Scaramucia, 17th century painter and Bellori, the art critic, left documents which supported that Caravaggio always worked with the model in front of him. Caravaggio, in fact, used the same model in his works for Isaac in 〈The Sacrifice of Isaac〉 (fig. 11), for St. John in the 〈St. John the Baptist〉 (Pinacoteca Capitolina) and for David in 〈David with the head of Goliath〉 of Vienna (fig. 9). Especially, K. Christiansen who examined the 〈The Sacrifice of Isaac〉(fig. 11) in X-Ray, made clear that Isaac and the angel of the work were the same model. In this case we cannot identify the model, Cecco, Caravaggio’ s young assistant, simultaneously with Isaac and Angel, with john Baptist and with David. By analogy, it is not reasonable to identify Goliath with the real Caravaggio either.
As Bellori and Mancini wrote, if Caravaggio had found figure types and composed them, models of his works had merely a playacting role. From this points of view, impatient and combative Caravaggio was the right actor for Goliaith’ s role. Many scholars who interpret the Caravaggio’ s 〈David with the head of Goliath〉 as homosexuality or as double portrait that express the Caravaggio’ s sense of guilty and redemption, are trying to connect the work to his personal life. But I think that they make mistake in applying the view of expressionism to the art of the 17th century. Caravaggio is not an expressionist of the 20th century. The works in the 17th Century are not outputs of self-expression, but ordered prouducts. It has to be understood in the context of the custom in the art production at that time.
Baglione put in 1625 as follows : “he(Caravaggio) was paid more for his portraits than others obtained for their history pictures, such is the value of recognition by the people, who judge not with their eyes but look with their ears.” This might imply that those works whose evil-like model was just himself were very popular and made many people have some curiosity in those days.
목차
序
다윗과 골리앗의 도상변천
카라바지오의 〈다윗과 골리앗〉
동성애적인 해석
이중초상으로 보는 견해
연극의 배역과 같은 카라바지오의 모델들
참혹한 것: 개인적인 취향인가 시대의 경향인가
結
참고문헌
Abstract
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