The end of Caravaggio [exhibition review]

Abstract

Exhibitions devoted to Michelangelo Merisi da Caravaggio's works, as well as thematic exhibitions in which his art plays a starring role, have been occurring with greater and greater frequency. The trend looks to in crease in the near future. Caravaggio may be now the most reliable draw in the museum business, overtaking the appeal of the perennial favorites Claude Monet and Rembrandt. The round of Caravaggio-related venues in 2006 includes the Rijksmuseum's Caravaggio-Rembrandt show?two artists who have no direct historical connection but who will make a striking visual juxtaposition and draw huge crowds. In the past few years, Caravaggio's works have been the highlight of shows thematizing "evil in art" as well as floral symbolism. Now we await only a themed show linking Caravaggio with Monet ("Night and Day"?) to cater fully to public taste. It is not clear that this busy exhibition schedule is cause for celebration, since Caravaggio studies now seem to be at a crossroads where public appreciation of the artist and a scholarly understanding of his work are in danger of going their separate ways.