Caravaggio

A pious Caravaggio JASPREET SINGH BOPARAI The Spanish painter Francisco de Zurbaran is sometimes thought of as a pious equivalent to Caravaggio – a Caravaggio without the bad temper, brutal vices or criminal record. But it seems difficult to argue that Caravaggio had any direct influence on his work. After all, he died when Zurbaran was 11 and a half years old. Since Zurbaran never left Spain, he could not have seen any of Caravaggio’s paintings with his own eyes. Indeed, he might never have even heard the artist’s name. Still, there are unavoidable similarities between the two men’s work. Zurbaran shared Caravaggio’s sense of drama and his love of shadows broken up by patches of strong light.

‘It’s true, it’s true, it’s true.’ Over and over she said it. ‘E vero, e vero, e vero.’ It’s true he raped me. It’s true I was a virgin. It’s true all I say. Even under judicial torture, even with cords wrapped around her fingers and pulled tight, she did not waver. ‘E vero.’ These words, spoken by the 17-year-old Artemisia Gentileschi, have come down to us in a trial transcript of 1612. This haunting document, never seen outside the state archives in Rome, will be shown for the first time in the National Gallery’s forthcoming Artemisia exhibition. Artemisia ought to have opened this month. Curator Letizia Treves has been through hell and high water. Italy in lockdown. American flights suspended.