Colnaghi Collections_Vol 01 - Page 115

Fig. 14.1 Giovanni Battista Caracciolo, Immaculate Conception
with Saint Dominic and Saint Francis of Paola, 1607, oil on canvas,
334 x 209 cm, Naples, Church of Santa Maria della Stella.
Fig. 14.2 Michelangelo Merisi, called Caravaggio, Madonna of the Rosary,
ca. 1601, oil on canvas, 364.5 x 249.5 cm, Vienna, Gemäldegalerie,
Kunsthistorisches Museum.
characterized by a tangible sense of plasticity, stand around him. At
the right, Japhat, his face in profile, hovers over his father, trying to
hide Noah’s nakedness with a red cloth. Framing the composition at
the left, Shem, with his face also seen in profile, leans with hand on hip
towards the central figure, his brother Ham. Shem places a restraining
hand on the latter, who turns to him grinning, laughing openly at and
pointing to his father’s state of undress, brought on by inebriation.
The Drunkenness of Noah accords well with Caracciolo’s output
from around 1620, a point at which he had been painting in a
Caravaggesque style for over a decade. Related examples of his
work in this period are the Lamentation over the Dead Christ of 1618 1620 in the church of San Michele Arcangelo, Campobasso, and
the Lamentation over the Body of Abel (fig. 14.3), of ca. 1620, in Naples.
Both of these dramatically lit compositions are constructed
Fig. 14.3 Giovanni Battista Caracciolo, The Lamentation over the Body of Abel,
ca. 1620, oil on canvas, 118 x 146 cm, Naples, Museo Nazionale di Capodimonte.
around a sculptural corpse lying diagonally across the canvas,
with the head at the right.
W ill E lliott


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