The Musicians (Caravaggio)

Caravaggio entered the household of Cardinal Francesco Maria del Monte sometime in 1595, and The Musicians is thought to have been his first painting done expressly for the Cardinal. Cardinal del Monte's impact on Caravaggio's artistic career during its early stages has been heavily studied due to his significant involvement as a supporter. This painting disappeared at one point in time and the whereabouts were unknown. According to the catalog entry at the Metropolitan Museum of Art, New York, a museum benefactor, Jacob S. Rogers purchased it from a house sale in 1952. It is now held in the Metropolitan Museum of Art, New York, where it has been since 1952. It underwent extensive restoration in 1983. == Description and interpretations ==

The picture displays four boys in classical costume (Greek or Roman robes): three figures playing various musical instruments or singing and the fourth dressed as Cupid and reaching towards some grapes. This was one of Caravaggio's more challenging compositions and the artist placed the four figures closely together within the small space of the canvas—the placement of the figures in the composition display a relaxed front and back formation of the male subjects. Iconography and symbolism Cupid is often referred to as an allegory for love, for this piece his presence conveys him as absent minded while picking at his grapes. Perhaps this is an indication of Cupid's need for sustenance and a possible message about the center figure's need for love. The figures are painted sitting closely together to create an intimate setting but this also provides a personal perspective for the viewer. The central figure with the lute has been identified as Caravaggio's companion Mario Minniti, and the individual next to him and facing the viewer is possibly a self-portrait of the artist. Caravaggio believed in the concept of "ritrarre dal naturale," or painting from life, rather than using the intellect or idea as inspiration Caravaggio often painted natural looking figures from everyday life instead of idealized figures from the imagination. Caravaggio's style was not always accepted by the elites, buyers, and fellow artists because of this. He was known for painting his subjects and models right on to his canvases without sketching first. This was seen as unconventional for his time but he would break the boundaries of traditional Renaissance painting by creating works of art that depicted people in a way that was natural and reflected everyday people. Caravaggio applied a precise approach when painting the models in his pieces, including non-human subjects such as still life. These models shared the same level of individuality as the human models but were subject to revision by the artist. The selection of human models appeared to be based on their facial features and the characteristics associated with their appearance. Caravaggio used his models in repetitive roles, assigning them to roles that contradicted their physiognomy. == Historical context ==

Scenes showing musicians were a popular theme at the time—the Church was supporting a revival of music and new styles and forms were being tried, especially by educated and progressive prelates such as del Monte. The notion that experiencing various moods through music can promote emotional stability and overall well-being was widely held at this time. This is important in the painting; the mood and emotions conveyed on the face of the centered figure speaks largely to the importance of Baroque music. The rendering of instruments in the piece and the music sheets displayed are indicators of Caravaggio's ability to depict the important changes taking place within music and Cardinal del Monte's love for the emotion in Baroque music. The importance of music was vital and created a pathway for Caravaggio to navigate Baroque music with the help of del Monte. Music proved to be important to both artist and patron when it came to artistic rendering due to the movement ability to showcase the patrons wealth and interests when he hosted visitors in his home. When visitors saw this painting or others including The Lute Player, it would speak largely to the Cardinal's taste, wealth and interests. This also bolstered Caravaggio in the genre of paintings of music and benefited his career. == Recovering lost fictions ==

A project that took place in 1997, by contemporary artists Kathleen Gilje and Joseph Grigely. ==Loan to Australia==

During the COVID-19 pandemic, the museum began a skylight replacement project that resulted in gallery closures, in response the Met loaned major works from the European collection, including 'The Musicians', to Qagoma in an exhibition titled 'European Masterpieces'. ==See also==