I wrote a research paper about psychopathic traits showing up in the artworks of one of the most talked about names in art history, Caravaggio. This is a look at features within the artist’s self portraits that can be interpreted as subtle hints at his self awareness and his place in society and culture.
n part two, we go a little deeper and explore the continuous themes that point to certain psychological traits in Caravaggio’s paintings. One borders blasphemy, while the other is used to instill fear in on-screen thrillers today.
In part three of discussing the mind of one of the most revolutionary painters, we see repeated patterns, a moment of realization, and a return of old traits that show up like a disease. What is that Caravaggio wanted us to see when he shows up on his works? What was he hiding in plain sight?
In the final part of this series, I reflect on the gravity of Caravaggio’s influence and question how the art community celebrates this great artist. Are we elevating the talent or are we glamorizing some troubling characteristics that could point to a not so great mental state?