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Narcissus, the case discussed by Caravaggio.

Caravaggio, Michelangelo Merisi, with his painting, has shocked the technique and vision reality in order to paint "the true nature revealed by the light." artist was born in Bergamo in 1571, is the most popular painter, admired and copied in our art scene. Among his works also show the Narcissus, of unquestionable beauty, which was given after long years of diagnosis and restoration.

Vodret Ross has edited a very good text on Caravaggio, which I read with great pleasure and I appreciate the extensive discussion, for sharp images and for criticism of the composition of the works and findings that emerged from the restoration, the all documented in flawlessly. Comprehensive and exhaustive work which discusses the stages of study for its attribution to Caravaggio.

The beauty of the painting is all folded up in this look of the Child, which is mirrored in the water, in the action itself to be admired or at least discover for the first time almost as a prove himself.

Narcissus myth is largely reproduced in the literature with many works that hark back to that young man, reflected in the water, falls in love with his image. Among the masterpieces that are based on love for oneself, impossible not to mention the portrait of Dorian Gray Oscar Wilde, but Upstream of Joris Karl Huysmans, the pleasure of G. D'Annunzio, and even before the Eclogues of Virgil where Corydon pastor made the same discovery, to find ample space and her best celebration in the Metamorphoses of Ovid.

Narciso always represents our inner struggle where I assume enormous proportions. It 'an increasingly dear, always new, hard to run out for the openings that we continue to enter and produces streams of words due to its charm. Lately I have found in reading a collection of short stories titled just "Narcissus" by the name of one of the tales, the young author Francesco Capaldo, writer, poet and journalist, where once again the myth emerges in full force through research that modern man made to give meaning to their existence.

outset Caravaggio uses text of Ovid's Metamorphoses to put his hand to Narcissus when he says: "The child exhausted by the fatigues of hunting and the heat, threw himself face down, attracted by the beauty of the place and the source, but while trying to quell the thirst, another thirst grows out: fell in love with as he sees reflected ... "The emotion of this

Narcissus is primarily in the mass composition, in a position so unusual and compact focuses on certain elements: the knee almost illuminated in a central position, the brightness of the puffy sleeves that captures our attention, the position of the face and the support of the hands.

The studies carried out on the canvas until you come to his trial generation, through a series of X-rays tell us that the thoughts in progress and that the end result was the result of constant change. The repentance of the painter have occurred in this case, not to be consistent with reality, as usually happens in the painting by Caravaggio, to resume the surprise here has his moment of glory in this fall, where the head rotate disproportionate to push the water to be reflected.

Caravaggio made several changes including: the right hand, initially in the water, the tuft of hair lying on the sleeve and the rise of the figure in the latest version. Caravaggio did not just tell the myth, but has captured the canvas, the climax of the most intense moment, that the desire to possess her reflection. The reason is clear as well that had to be a visual illusion: the reflection of the knee is that the profile of the face, appear to be moved up. Initially, the right hand was completely immersed in water, and the tuft of hair was missing. The technique has been to paint the top folds down to around 180 degrees with the help of a mirror.

does not occur in nature such a position to look at his reflection, but the artist has turned his efforts to make adhering to the myth of Narcissus, looking for strategies to create the effect, wanting to emphasize the deceptive nature of the reflection. The work was commissioned by Cardinal Del Monte, refined and cultured man, who asked not only beautiful but a work that would reveal the conceptual complexities inherent in the myth of Narcissus, which makes this unique.

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