Master Apollon

Caravaggio and “Madonna and Child with Saint Anne”: A Detailed Analysis

Caravaggio’s Madonna and Child with Saint Anne (1605-1606), also known as Dei Palafrenieri, is a work that exemplifies the artist’s boldness and innovative approach to religious art. Commissioned by the Confraternity of the Palafrenieri for an altar in St. Peter’s Basilica, the painting was installed in the church in April 1606, only to be removed shortly thereafter due to its unconventional depiction of the Virgin Mary and other controversial elements. This blog delves into the history, iconography, and symbolism of this remarkable yet contentious work.

History and Controversy

The commission for this painting was placed with Caravaggio on December 1, 1605. Remarkably, the artist completed the work in less than four months, with the painting installed at the basilica on April 8, 1606. However, within just a week, the painting was removed on April 16 and transferred to the Church of Saint Anne of the Palafrenieri.

The reasons behind the removal remain speculative, but several factors have been suggested. Art historian John Spike proposes that one reason might have been Caravaggio’s choice of model for the Virgin Mary, Maddalena Antonietti, known as Lena. Lena, a woman of lower social class, had already served as the model for The Madonna of the Pilgrims. The unconventional nature of using a woman like Lena, coupled with her tumultuous relationship with Caravaggio, may have contributed to the decision to remove the painting.

Another point of contention was the depiction of Saint Anne. Traditionally regarded as a symbol of grace, Caravaggio portrayed Saint Anne as an ordinary elderly woman, which likely shocked contemporary viewers. Moreover, the complete nudity of the infant Jesus—considered inappropriate during the Counter-Reformation—further fueled the controversy, ultimately leading to the painting’s removal.

Iconography and Symbolism

Caravaggio’s Madonna and Child with Saint Anne is rich in iconographic symbolism. The painting depicts the Virgin Mary, with the assistance of her son, crushing a serpent. The serpent, a common symbol of evil and original sin, represents the eternal struggle between good and evil. As noted, “The serpent rears up in rejection at the presence of the three figures,” highlighting the symbolic confrontation between these opposing forces.

One striking feature of this painting is the absence of a halo around Jesus, a traditional element in Christian art where halos denote the sanctity and divinity of the figure. Instead, Caravaggio uses the play of light and shadow, or chiaroscuro, to emphasize Jesus as the central figure of the composition. As John Spike observes, “Jesus is the brightest character in this altarpiece, with numerous reflections. The light shines upon him because he is the focus of attention and is known as ‘the light of the world.’” This dramatic use of light not only draws the viewer’s eye to Jesus but also adds a theological layer, portraying him as the divine light in a world of darkness.

Caravaggio’s representation of Jesus’ nudity has also been a subject of much discussion. Art historian Leo Steinberg argues that it represents Christ’s humanity, free from the “Adamite contagion of shame.” This depiction signifies both physical health and mortality, marking Christ as fully human while also symbolizing his role in the salvation narrative.

The portrayal of the Virgin Mary, with a fitted bodice that reveals part of her breast, is also notable. This unconventional image harkens back to medieval symbolism, where such depictions of the Virgin’s breast were associated with the Madonna of Mercy, offering spiritual nourishment. John Spike further explains that “The symbolism of the exposed breast in the fitted corset comes from medieval and traditional clothing styles, with the bare breast representing the maternal milk of the Madonna of Mercy.”

Conclusion

Madonna and Child with Saint Anne is a complex and controversial work that exemplifies Caravaggio’s bold approach to religious themes. The painting’s removal by the Confraternity of the Palafrenieri underscores the tension between innovative art and the social norms of the time. Despite its rejection, the painting continues to captivate art historians and viewers with its striking realism, dramatic use of light and shadow, and rich symbolic meaning. Through this work, Caravaggio challenged traditional depictions of the holy family, offering a fresh, humanized view that still resonates today.