Medusa (Caravaggio): Difference between revisions

Medusa
Medusa
Italian: Testa di Medusa
Artist	Caravaggio
Year	1597
Type	Oil on canvas mounted on wood
Dimensions	60 cm × 55 cm (24 in × 22 in)
Location	Uffizi, Florence

Browse history interactively

← Previous edit

Content deleted Content added

VisualWikitext

Inline

Latest revision as of 06:05, 14 May 2024

Two versions of Medusa were created by Michelangelo Merisi da Caravaggio, one in 1596 and the other in ca. 1597. Both depict the moment from Greek mythology in which the Gorgon Medusa is killed by the demigod Perseus, but the Medusas are also self-portraits. Due to its bizarre and intricate design, the painting is said to display Caravaggio's unique fascination with violence and realism. The Medusa was commissioned by the Italian diplomat Francesco Maria del Monte, who planned to gift the commemorative shield to Ferdinando I de' Medici and have it placed in the Medici collection.^[1] It is now located in the Uffizi Museum in Florence without signature.

History

In the 1590s, Caravaggio was working in Rome, and his success and wealth were increasing. However, the time in which he painted the two versions of the Medusa was characterized by several run-ins with the law. In July 1597, Caravaggio and his partner Prospero Orsi became involved as witnesses in a crime that occurred near San Luigi de' Francesi. In one instance, a barber named Luca gave a testimony about Caravaggio where he provided a description regarding his mysterious attire:

"This painter is a stocky young man…with a thin black beard, thick eyebrows and black eyes, who goes dressed all in black, in a rather disorderly fashion, wearing black hose that is a little bit threadbare, and who has a thick head of hair, long over his forehead."^[2]

At the time, there was an unsolved case in which two items were reported as being missing—a dark cloak and a small dagger.^[2] As a result of his mysterious behavior and affiliation with cloaks, Caravaggio was arrested several times. He told authorities that he liked dressing in dark attire to avoid drawing unnecessary attention to himself, which was also why he preferred to make late night trips.^[2] On May 4, 1598, he was arrested again for possessing a sword in public, and defended himself by saying:

“I carry the sword by right because I am Painter to Cardinal del Monte. I am in his service and live in his house. I am entered on his household payroll.”^[2]

Caravaggio's paintings were never in tune with the idealized themes that were prevalent during the time period. Instead, he became more intrigued with the idea of realism and incorporated it into his paintings such as Boy with a Basket of Fruit, The Fortune Teller, The Cardsharps, Bacchus, and even The Musicians, which were all painted within the same time period.^[3] When he painted Medusa, Caravaggio hit a great milestone in his life - he was given a chance to decorate the Contarelli Chapel, in which he created realistic images regarding the life of St. Matthew himself.^[2] Some of these paintings include Saint Matthew and the Angel, The Martyrdom of Saint Matthew, and The Calling of Saint Matthew.^[2] This opportunity to paint the chapel gave him great advantage and a sense of motivation to incorporate more realism in his artworks.

Versions

The first version of the painting, created in 1596, is known as Murtula. It was named after poet Gaspare Murtola, who wrote of Medusa, "flee, for if your eyes are petrified in amazement, she will turn you to stone."^[4] It measures 48 by 55 cm in length and is signed Michel A F (Latin: Michel Angelo Fecit), meaning "Michel Angelo made [this]."^[5] This work is privately owned.^[5]

The second version of the painting is known as Medusa (Italian: Testa di Medusa). It is slightly bigger than the first, measuring 60×55 cm in length. Although the work is not signed or dated, it is often dated as 1597. It is held in the Uffizi Museum.^[5]

Subject matter

The painting depicts the severed head of Medusa, a figure from Greek myth. Medusa was once a human woman, but the goddess Athena cursed her to live as a monster after Poseidon raped her in one of Athena's temples. Her hair was turned to snakes, and anybody who looked at her would be turned to stone.^[6] Perseus, the demigod child of Zeus, eventually decapitated Medusa using gifts from the gods.^[7]

Caravaggio replaced Medusa's face with his own, allowing him to position himself as being immune to her fatal gaze.^[8] Though the head is decapitated, it still appears conscious, with the painting capturing its final moments before death.^[9] The face's eyes are widened, and its brows are creased; its mouth hangs open. Blood pours out of the severed neck.

Description

Material

The chemical composition of this painting is extremely complex. Caravaggio used a circular shield made from poplar wood as a base for this painting. The shield was covered by linen, on which four different layers of paint—known as preparation layers—were added to help create the basis for the painting.^[10] On top of the preparation layers, an additional layer was applied to make the background appear more reflective.^[10] On top of this reflective layer, another layer was applied (the green background that is shown on the painting)—this layer consists of a mixture of verdigris and lead-tin yellow paint.^[10] On top of this background layer, three more layers consisting of mixtures of siccative oils, turpentine and mastic with traces of beeswax were applied to form the painting.^[10] At last, a few more layers were added to help conserve the painting.

Style

Caravaggio employs tenebrism and realism to create the illusion of a three-dimensional work. Medusa's cheeks and jawline are also elongated to complement the nature of the painting.^[10]

Caravaggio chose to mount the canvas on a convex wooden shield because it would draw comparisons to the much-celebrated work of Leonardo da Vinci. A well-known anecdote of the time stated that Leonardo's father had once asked him to decorate the surface of a shield. In response, Leonardo had painted a "hybrid monster," combining the attributes of animals such as snakes, insects and lizards. Medusa, with her snakes for hair, could also be considered a "hybrid monster."^[9]

Influence

Caravaggio depicted the act of decapitation in several of his other paintings, including Judith Beheading Holofernes, David with the Head of Goliath, and The Beheading of St John the Baptist.^[3]

Sources

Stanska, Zuzanna (5 August 2018). "The Shiny Shield With Caravaggio's Medusa". Daily Art Magazine. Retrieved 19 March 2019.
Graham-Dixon, Andrew. “Caravaggio.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 4 February 2019. [1]
“Medusa: The Real Story of the Snake-Haired Gorgon.” Greek Mythology.[2]
Barolsky, Paul (April 2013). "The Ambiguity of Caravaggio's 'Medusa'". Source: Notes in the History of Art. 32 (3): 28–29. doi:10.1086/sou.32.3.23392422. JSTOR 23392422. S2CID 191384440.
"Perseus: Greek Mythology." Encyclopædia Britannica, 14 February 2019.[3]
Jones, Jonathan. "Medusa, Caravaggio (c 1598)." The Guardian, 25 Jan, 2003. [4]
Puttfarken, Thomas (2007). "Caravaggio and the Representation of Violence". Umeni / Art. 55 (3): 183–195. EBSCOhost 28115340.
Posèq, Avigdor W. G. (1990). "Caravaggio and the Antique". Artibus et Historiae. 11 (21): 147–167. doi:10.2307/1483388. JSTOR 1483388.
Favaro, Monica; Vigato, Pietro A.; Andreotti, Alessia; Colombini, Maria Perla (1 December 2005). "La Medusa by Caravaggio: characterisation of the painting technique and evaluation of the state of conservation". Journal of Cultural Heritage. 6 (4): 295–305. doi:10.1016/j.culher.2005.04.003.

References

^ Barolsky, Paul (April 2013). "The Ambiguity of Caravaggio's 'Medusa'". Source: Notes in the History of Art. 32 (3): 28–29. doi:10.1086/sou.32.3.23392422. JSTOR 23392422. S2CID 191384440.
^ ^a ^b ^c ^d ^e ^f Graham-Dixon, Andrew. "Caravaggio Italian Painter". Encyclopædia Britannica. Retrieved 21 April 2019.
^ ^a ^b Posèq, Avigdor W. G. (1990). "Caravaggio and the Antique". Artibus et Historiae. 11 (21): 147–167. doi:10.2307/1483388. JSTOR 1483388.
^ Gloria Fossi, Uffizi: Art, History, Collections (Giunti Editore, 2004), p. 530.
^ ^a ^b ^c Stanska, Zuzanna (5 August 2018). "The Shiny Shield With Caravaggio's Medusa". Daily Art Magazine. Retrieved 19 March 2019.
^ "Medusa: The Real Story of the Snake-Haired Gorgon". Greek Mythology. Retrieved 19 March 2019.
^ Britannica, inc., Encyclopædia (14 Feb 2019). "Perseus Greek Mythology". Encyclopædia Britannica. Retrieved 19 March 2019.
^ "Why Did Caravaggio Paint Medusa?". The Collector. Retrieved 6 December 2022.
^ ^a ^b Jones, Jonathan (24 Jan 2003). "Medusa, Caravaggio (c 1598)". The Guardian. Retrieved 18 March 2019.
^ ^a ^b ^c ^d ^e Favaro, Monica; Vigato, Pietro A.; Andreotti, Alessia; Colombini, Maria Perla (1 December 2005). "La Medusa by Caravaggio: characterisation of the painting technique and evaluation of the state of conservation". Journal of Cultural Heritage. 6 (4): 295–305. doi:10.1016/j.culher.2005.04.003.

External links

Medusa at Web Gallery of Art
Media related to Medusa by Caravaggio at Wikimedia Commons

[1] Barolsky, Paul (April 2013). "The Ambiguity of Caravaggio's 'Medusa'". Source: Notes in the History of Art. 32 (3): 28–29. doi:10.1086/sou.32.3.23392422. JSTOR 23392422. S2CID 191384440.

[:0-2] ^ ^a ^b ^c ^d ^e ^f Graham-Dixon, Andrew. "Caravaggio Italian Painter". Encyclopædia Britannica. Retrieved 21 April 2019.

[:2-3] Posèq, Avigdor W. G. (1990). "Caravaggio and the Antique". Artibus et Historiae. 11 (21): 147–167. doi:10.2307/1483388. JSTOR 1483388.

[4] Gloria Fossi, Uffizi: Art, History, Collections (Giunti Editore, 2004), p. 530.

[:1-5] Stanska, Zuzanna (5 August 2018). "The Shiny Shield With Caravaggio's Medusa". Daily Art Magazine. Retrieved 19 March 2019.

[:3-6] "Medusa: The Real Story of the Snake-Haired Gorgon". Greek Mythology. Retrieved 19 March 2019.

[7] Britannica, inc., Encyclopædia (14 Feb 2019). "Perseus Greek Mythology". Encyclopædia Britannica. Retrieved 19 March 2019.

[8] "Why Did Caravaggio Paint Medusa?". The Collector. Retrieved 6 December 2022.

[:4-9] Jones, Jonathan (24 Jan 2003). "Medusa, Caravaggio (c 1598)". The Guardian. Retrieved 18 March 2019.

[:5-10] Favaro, Monica; Vigato, Pietro A.; Andreotti, Alessia; Colombini, Maria Perla (1 December 2005). "La Medusa by Caravaggio: characterisation of the painting technique and evaluation of the state of conservation". Journal of Cultural Heritage. 6 (4): 295–305. doi:10.1016/j.culher.2005.04.003.

[1]

[2]

[3]

[4]

[5]

[6]

[7]

[8]

[9]

[10]

@@ Line 16: / Line 16: @@
 }}
-Two versions of '''''Medusa''''' were created by [[Caravaggio|Michelangelo Merisi da Caravaggio]] – one in 1596 and the other in 1597 – depicting the exact moment [[Medusa|she was executed]] by [[Perseus]]. He plays with the concept by replacing Medusa's face with his own, as an indication of his immunity to her dreadful gaze. Due to its bizarre and intricate design, the painting is said to complement Caravaggio's unique fascination with violence and realism. It was commissioned by Italian diplomat [[Francesco Maria del Monte]] as a means of giving it to the [[Ferdinando I de' Medici, Grand Duke of Tuscany|Grand Duke of Tuscany]], and is now located in the [[Uffizi|Uffizi Museum]] in Florence without signature.
+Two versions of '''''Medusa''''' were created by [[Caravaggio|Michelangelo Merisi da Caravaggio]], one in 1596 and the other in ca. 1597. Both depict the moment from Greek mythology in which the [[Gorgon]] [[Medusa]] is killed by the demigod [[Perseus]], but the ''Medusas'' are also self-portraits. Due to its bizarre and intricate design, the painting is said to display Caravaggio's unique fascination with violence and realism. The ''Medusa'' was commissioned by the Italian diplomat [[Francesco Maria del Monte]], who planned to gift the commemorative shield to [[Ferdinando I de' Medici, Grand Duke of Tuscany|Ferdinando I de' Medici]] and have it placed in the Medici collection.<ref>{{cite journal |last1=Barolsky |first1=Paul |date=April 2013 |title=The Ambiguity of Caravaggio's 'Medusa' |journal=Source: Notes in the History of Art |volume=32 |issue=3 |pages=28–29 |doi=10.1086/sou.32.3.23392422 |jstor=23392422 |s2cid=191384440}}</ref> It is now located in the [[Uffizi|Uffizi Museum]] in [[Florence]] without signature.
 == History ==
-In the 1590s Caravaggio had just started becoming a successful and wealthy artist in [[Rome]]. However, the time in which he painted the two versions of the Medusa were characterized by several run-ins with the law.  in July 1597, Caravaggio and his partner [[Prospero Orsi]] became involved as witnesses in a crime that occurred near [[San Luigi dei Francesi|San Luigi de' Francesi]]. In one instance, a barber named Luca gave a testimony about Caravaggio where he provided a description regarding his mysterious attire:  <blockquote>''"This painter is a stocky young man…with a thin black beard, thick eyebrows and black eyes, who goes dressed all in black, in a rather disorderly fashion, wearing black hose that is a little bit threadbare, and who has a thick head of hair, long over his forehead.''"<ref name=":0">{{Cite web|url=https://www.britannica.com/biography/Caravaggio|title=Caravaggio Italian Painter|last=Graham-Dixon|first=Andrew|website=Encyclopædia Britannica|access-date=21 April 2019}}</ref> </blockquote>At the time, there was an unsolved case in which two items were reported as being missing – a dark cloak and a small dagger.<ref name=":0" /> As a result of his mysterious behavior and also due to his affiliation with cloaks, Caravaggio was arrested several times in which he indicated that he favored dressing in dark attire to avoid being seen by the public, which is also why he preferred to make late night trips to evade excessive or unnecessary attention.<ref name=":0" /> On May 4, 1598 he was arrested again for possessing a sword in public, in which he asserted:   <blockquote>“I was arrested last night…because I was carrying a sword. I carry the sword by right because I am Painter to [[Pope Julius III|Cardinal del Monte]]. I am in his service and live in his house. I am entered on his household payroll.”<ref name=":0" />   </blockquote>
+In the 1590s, Caravaggio was working in [[Rome]], and his success and wealth were increasing. However, the time in which he painted the two versions of the ''Medusa'' was characterized by several run-ins with the law.  In July 1597, Caravaggio and his partner [[Prospero Orsi]] became involved as witnesses in a crime that occurred near [[San Luigi dei Francesi|San Luigi de' Francesi]]. In one instance, a barber named Luca gave a testimony about Caravaggio where he provided a description regarding his mysterious attire:  <blockquote>''"This painter is a stocky young man…with a thin black beard, thick eyebrows and black eyes, who goes dressed all in black, in a rather disorderly fashion, wearing black hose that is a little bit threadbare, and who has a thick head of hair, long over his forehead.''"<ref name=":0">{{Cite web|url=https://www.britannica.com/biography/Caravaggio|title=Caravaggio Italian Painter|last=Graham-Dixon|first=Andrew|website=Encyclopædia Britannica|access-date=21 April 2019}}</ref> </blockquote>At the time, there was an unsolved case in which two items were reported as being missing—a dark cloak and a small dagger.<ref name=":0" /> As a result of his mysterious behavior and affiliation with cloaks, Caravaggio was arrested several times. He told authorities that he liked dressing in dark attire to avoid drawing unnecessary attention to himself, which was also why he preferred to make late night trips.<ref name=":0" /> On May 4, 1598, he was arrested again for possessing a sword in public, and defended himself by saying:   <blockquote>“I carry the sword by right because I am Painter to [[Pope Julius III|Cardinal del Monte]]. I am in his service and live in his house. I am entered on his household payroll.”<ref name=":0" />   </blockquote>
 Caravaggio's paintings were never in tune with the idealized themes that were prevalent during the time period. Instead, he became more intrigued with the idea of realism and incorporated it into his paintings such as ''[[Boy with a Basket of Fruit]]'', ''[[The Fortune Teller (Caravaggio)|The Fortune Teller]]'', ''[[The Cardsharps]]'', ''[[Bacchus (Caravaggio)|Bacchus]]'', and even ''[[The Musicians (Caravaggio)|The Musicians]]'', which were all painted within the same time period.<ref name=":2">{{Cite journal|title=Caravaggio and the Antique|journal = Artibus et Historiae|volume = 11|issue = 21|pages = 147–167|last=Posèq|first=Avigdor W. G.|jstor = 1483388|year = 1990|doi = 10.2307/1483388}}</ref> When he painted Medusa, Caravaggio hit a great milestone in his life - he was given a chance to decorate the [[Contarelli Chapel]], in which he created realistic images regarding the life of St. Matthew himself.<ref name=":0" /> Some of these paintings include ''[[Saint Matthew and the Angel]]'', ''[[The Martyrdom of Saint Matthew (Caravaggio)|The Martyrdom of Saint Matthew]]'', and ''[[The Calling of St Matthew (Caravaggio)|The Calling of Saint Matthew]]''.<ref name=":0" /> This opportunity to paint the chapel gave him great advantage and a sense of motivation to incorporate more realism in his artworks.
 ==Versions==
-The first version of the painting created in 1596 is known as ''Murtula'', named after poet [[Gaspare Murtola]], who wrote "flee, for if your eyes are petrified in amazement, she will turn you to stone."<ref>Gloria Fossi, ''Uffizi: Art, History, Collections'' (Giunti Editore, 2004), p. 530.</ref> It measures 48 by 55&nbsp;cm in length and is signed Michel A&nbsp;F (Latin: {{Lang|la|Michel Angelo Fecit}}), indicating "Michel Angelo made [this]", with Michelangelo being Caravaggio's first name after all.<ref name=":1" /> This work is privately owned.<ref name=":1" />
+The first version of the painting, created in 1596, is known as ''Murtula''. It was named after poet [[Gaspare Murtola]], who wrote of Medusa, "flee, for if your eyes are petrified in amazement, she will turn you to stone."<ref>Gloria Fossi, ''Uffizi: Art, History, Collections'' (Giunti Editore, 2004), p. 530.</ref> It measures 48 by 55&nbsp;cm in length and is signed Michel A&nbsp;F (Latin: {{Lang|la|Michel Angelo Fecit}}), meaning "Michel Angelo made [this]."<ref name=":1" /> This work is privately owned.<ref name=":1" />
-The second version of the painting created in 1597 is known as ''Medusa'' (Italian: Testa di Medusa). It is slightly bigger than the first, measuring 60×55&nbsp;cm in length and although it's not signed, it is often dated with the year 1597{{By whom|date=December 2017}}. This work is held in the [[Uffizi|Uffizi Museum]] located in [[Florence]].<ref name=":1">{{Cite web|url=http://www.dailyartmagazine.com/caravaggio-medusa/|title=The Shiny Shield With Caravaggio's Medusa|last=Stanska|first=Zuzanna|date=5 August 2018|website=Daily Art Magazine|access-date=19 March 2019}}</ref>
+The second version of the painting is known as ''Medusa'' (Italian: Testa di Medusa). It is slightly bigger than the first, measuring 60×55&nbsp;cm in length. Although the work is not signed or dated, it is often dated as 1597. It is held in the Uffizi Museum.<ref name=":1">{{Cite web|url=http://www.dailyartmagazine.com/caravaggio-medusa/|title=The Shiny Shield With Caravaggio's Medusa|last=Stanska|first=Zuzanna|date=5 August 2018|website=Daily Art Magazine|access-date=19 March 2019}}</ref>
 == Subject matter ==
-For its subject matter, Caravaggio drew on the myth of [[Medusa]]. The painting depicts the severed head of Medusa, a monster described as a female woman with bronze hands and golden wings who had countless venomous snakes on her head in place of her own hair.<ref name=":3" /> Anyone who even so much as glanced at her, would be turned to stone. Medusa, along with her two sisters [[Stheno]] and [[Euryale (Gorgon)|Euryale]], was known as a [[Gorgon]], a powerful mythical creature in ancient Greek mythology. She was cursed by the Greek goddess [[Athena]], who turned her into the venomous monster she was.<ref name=":3">{{Cite web|url=https://www.greekmythology.com/Myths/Creatures/Medusa/medusa.html|title=Medusa: The Real Story of the Snake-Haired Gorgon|website=Greek Mythology|access-date=19 March 2019}}</ref> [[Perseus]], son of Greek god [[Zeus]] and princess [[Danaë|Danae]], decapitated Medusa using a shield given by Athena.<ref>{{Cite web|url=https://www.britannica.com/topic/Perseus-Greek-mythology|title=Perseus Greek Mythology|last=Britannica, inc.|first=Encyclopædia|date=14 Feb 2019|website=Encyclopædia Britannica|access-date=19 March 2019}}</ref>
+The painting depicts the severed head of Medusa, a figure from Greek myth. Medusa was once a human woman, but the goddess [[Athena]] cursed her to live as a [[Gorgon|monster]] after Poseidon raped her in one of Athena's temples. Her hair was turned to snakes, and anybody who looked at her would be turned to stone.<ref name=":3">{{Cite web |title=Medusa: The Real Story of the Snake-Haired Gorgon |url=https://www.greekmythology.com/Myths/Creatures/Medusa/medusa.html |access-date=19 March 2019 |website=Greek Mythology}}</ref> [[Perseus]], the demigod child of [[Zeus]], eventually decapitated Medusa using gifts from the gods.<ref>{{Cite web|url=https://www.britannica.com/topic/Perseus-Greek-mythology|title=Perseus Greek Mythology|last=Britannica, inc.|first=Encyclopædia|date=14 Feb 2019|website=Encyclopædia Britannica|access-date=19 March 2019}}</ref>
-In his painting, Caravaggio depicts a self-portrait of his own face in the place of Medusa's, as a way of indicating his immunity to her dreadful gaze.<ref name=":4">{{Cite web|url=https://www.theguardian.com/culture/2003/jan/25/art|title=Medusa, Caravaggio (c 1598)|last=Jones|first=Jonathan|date=24 Jan 2003|website=The Guardian|access-date=18 March 2019}}</ref> Though the head is decapitated, it still appears conscious as the painting captures its final moments in silence before being atrociously defeated.<ref name=":4" /> Blood pours down in many streaks, while the mouth hangs wide open baring teeth. With brows creased and eyes amplified, an appalling expression is portrayed.
+Caravaggio replaced Medusa's face with his own, allowing him to position himself as being immune to her fatal gaze.<ref>{{Cite web|url=https://www.thecollector.com/why-did-caravaggio-paint-medusa/|title=Why Did Caravaggio Paint Medusa?|website=The Collector|access-date=6 December 2022}}</ref> Though the head is decapitated, it still appears conscious, with the painting capturing its final moments before death.<ref name=":4">{{Cite web|url=https://www.theguardian.com/culture/2003/jan/25/art|title=Medusa, Caravaggio (c 1598)|last=Jones|first=Jonathan|date=24 Jan 2003|website=The Guardian|access-date=18 March 2019}}</ref> The face's eyes are widened, and its brows are creased; its mouth hangs open. Blood pours out of the severed neck.
-The painting was commissioned as a commemoration shield by Cardinal Francesco Maria Del Monte, who wanted to give it to the Grand Duke of Tuscany, [[Ferdinando I de' Medici, Grand Duke of Tuscany|Ferdinando I de' Medici]], for his courage and have it placed in the Medici collection.<ref>{{cite journal |last1=Barolsky |first1=Paul |title=The Ambiguity of Caravaggio's 'Medusa' |journal=Source: Notes in the History of Art |date=April 2013 |volume=32 |issue=3 |pages=28–29 |doi=10.1086/sou.32.3.23392422 |jstor=23392422 |s2cid=191384440 }}</ref>
 == Description ==
 === Material ===
-The chemical composition of this painting is extremely complex. Caravaggio used a circular shield made from poplar wood as a base for this painting. The shield was covered by linen, on which four different layers of paint - known as preparation layers - were added to help create the basis for the painting.<ref name=":5">{{cite journal |last1=Favaro |first1=Monica |last2=Vigato |first2=Pietro A. |last3=Andreotti |first3=Alessia |last4=Colombini |first4=Maria Perla |title=La Medusa by Caravaggio: characterisation of the painting technique and evaluation of the state of conservation |journal=Journal of Cultural Heritage |date=1 December 2005 |volume=6 |issue=4 |pages=295–305 |doi=10.1016/j.culher.2005.04.003 }}</ref> On top of the preparation layers, an additional layer was applied to make the background appear more reflective.<ref name=":5" /> On top of this reflective layer, another layer was applied (the green background that is shown on the painting) - this layer consists of a mixture of verdigris and lead-tin yellow paint.<ref name=":5" /> On top of this background layer, three more layers consisting of mixtures of siccative oils, turpentine and mastic with traces of beeswax were applied to form the painting.<ref name=":5" /> At last, a few more layers were added to help conserve the painting.
+The chemical composition of this painting is extremely complex. Caravaggio used a circular shield made from poplar wood as a base for this painting. The shield was covered by linen, on which four different layers of paint—known as preparation layers—were added to help create the basis for the painting.<ref name=":5">{{cite journal |last1=Favaro |first1=Monica |last2=Vigato |first2=Pietro A. |last3=Andreotti |first3=Alessia |last4=Colombini |first4=Maria Perla |title=La Medusa by Caravaggio: characterisation of the painting technique and evaluation of the state of conservation |journal=Journal of Cultural Heritage |date=1 December 2005 |volume=6 |issue=4 |pages=295–305 |doi=10.1016/j.culher.2005.04.003 }}</ref> On top of the preparation layers, an additional layer was applied to make the background appear more reflective.<ref name=":5" /> On top of this reflective layer, another layer was applied (the green background that is shown on the painting)—this layer consists of a mixture of verdigris and lead-tin yellow paint.<ref name=":5" /> On top of this background layer, three more layers consisting of mixtures of siccative oils, turpentine and mastic with traces of beeswax were applied to form the painting.<ref name=":5" /> At last, a few more layers were added to help conserve the painting.
 === Style ===
-The level of tenebrism and realism are well portrayed in this painting – creating a three-dimensional appearance. Medusa's cheeks and jawline are elongated to complement the nature of the painting.<ref name=":5" /> Caravaggio's idea of using a convex shield as a canvas was to paint it from Perseus' point of view – in the instance Medusa's reflection appeared on his shield, right before he killed her.<ref name=":4" />
+Caravaggio employs [[tenebrism]] and realism to create the illusion of a three-dimensional work. Medusa's cheeks and jawline are also elongated to complement the nature of the painting.<ref name=":5" />
+Caravaggio chose to mount the canvas on a convex wooden shield because it would draw comparisons to [[Medusa (Leonardo)|the much-celebrated work of Leonardo da Vinci]]. A well-known anecdote of the time stated that Leonardo's father had once asked him to decorate the surface of a shield. In response, Leonardo had painted a "hybrid monster," combining the attributes of animals such as snakes, insects and lizards. Medusa, with her snakes for hair, could also be considered a "hybrid monster."<ref name=":4" />
 == Influence ==
-The idea of decapitation is a very frequent image portrayed by Caravaggio and it tends to occur in many of his artworks such as [[Judith Beheading Holofernes (Caravaggio)|''Judith Beheading Holofernes'']], [[David with the Head of Goliath (Caravaggio, Rome)|''David with the Head of Goliath'']], and [[The Beheading of St John the Baptist (Caravaggio)|''The Beheading of St John the Baptist'']].<ref name=":2" />
+Caravaggio depicted the act of decapitation in several of his other paintings, including [[Judith Beheading Holofernes (Caravaggio)|''Judith Beheading Holofernes'']], [[David with the Head of Goliath (Caravaggio, Rome)|''David with the Head of Goliath'']], and [[The Beheading of St John the Baptist (Caravaggio)|''The Beheading of St John the Baptist'']].<ref name=":2" />
+==See also==
-Caravaggio's artwork is portrayed as being a visual instrument through the depiction of scenes related to torture and martyrdom.<ref name=":6">{{cite journal |last1=Puttfarken |first1=Thomas |title=Caravaggio and the Representation of Violence |journal=Umeni / Art |date=2007 |volume=55 |issue=3 |pages=183–195 |id={{Ebscohost|28115340}} }}</ref> Every artist paints themselves in their own works of art. That being said, Caravaggio's dark and mysterious nature is evident and demonstrated in his paintings.<ref name=":6" /> The combination of violence and realism is what makes his work unique.<ref name=":6" />
+*[[List of paintings by Caravaggio]]
 == Sources ==
 # {{cite web |last=Stanska |first=Zuzanna |url=http://www.dailyartmagazine.com/caravaggio-medusa/ |title=The Shiny Shield With Caravaggio's Medusa |date=5 August 2018 |website=Daily Art Magazine |access-date=19 March 2019 }}
-# Graham-Dixon, Andrew. “Caravaggio.” ''Encyclopædia Britannica'', Encyclopædia Britannica, Inc., 4 Feb. 2019. [https://www.britannica.com/biography/Caravaggio]
+# Graham-Dixon, Andrew. “Caravaggio.” ''Encyclopædia Britannica'', Encyclopædia Britannica, Inc., 4 February 2019. [https://www.britannica.com/biography/Caravaggio]
 #“Medusa: The Real Story of the Snake-Haired Gorgon.” ''Greek Mythology''.[https://www.greekmythology.com/Myths/Creatures/Medusa/medusa.html]
 #{{cite journal |last1=Barolsky |first1=Paul |title=The Ambiguity of Caravaggio's 'Medusa' |journal=Source: Notes in the History of Art |date=April 2013 |volume=32 |issue=3 |pages=28–29 |doi=10.1086/sou.32.3.23392422 |jstor=23392422 |s2cid=191384440 }}
-#"Perseus: Greek Mythology." Encyclopædia Britannica, 14 Feb. 2019.[https://www.britannica.com/topic/Perseus-Greek-mythology]
+#"Perseus: Greek Mythology." Encyclopædia Britannica, 14 February 2019.[https://www.britannica.com/topic/Perseus-Greek-mythology]
 #Jones, Jonathan. "Medusa, Caravaggio (c 1598)." ''The Guardian'', 25 Jan, 2003. [https://www.theguardian.com/culture/2003/jan/25/art]
-#{{cite journal |last1=Puttfarken |first1=Thomas |title=Caravaggio and the Representation of Violence |journal=Umeni / Art |date=2007 |volume=55 |issue=3 |pages=183–195 |id={{Ebscohost|28115340}} }}
+#{{cite journal |last1=Puttfarken |first1=Thomas |title=Caravaggio and the Representation of Violence |journal=Umeni / Art |date=2007 |volume=55 |issue=3 |pages=183–195 |id={{EBSCOhost|28115340}} }}
 #{{cite journal |last1=Posèq |first1=Avigdor W. G. |title=Caravaggio and the Antique |journal=Artibus et Historiae |date=1990 |volume=11 |issue=21 |pages=147–167 |doi=10.2307/1483388 |jstor=1483388 }}
 #{{cite journal |last1=Favaro |first1=Monica |last2=Vigato |first2=Pietro A. |last3=Andreotti |first3=Alessia |last4=Colombini |first4=Maria Perla |title=La Medusa by Caravaggio: characterisation of the painting technique and evaluation of the state of conservation |journal=Journal of Cultural Heritage |date=1 December 2005 |volume=6 |issue=4 |pages=295–305 |doi=10.1016/j.culher.2005.04.003 }}
@@ Line 64: / Line 64: @@
 ==External links==
 *[http://www.wga.hu/framex-e.html?file=html/c/caravagg/03/20medusa.html&find=medusa ''Medusa''] at Web Gallery of Art
+*{{commons-inline}}
 {{Caravaggio}}
 {{Authority control}}
 [[Category:1597 paintings]]
 [[Category:Cultural depictions of Medusa]]
-[[Category:Paintings by Caravaggio]]
+[[Category:Mythological paintings by Caravaggio]]
-[[Category:Paintings in the collection of the Uffizi]]
+[[Category:Paintings in the Uffizi]]
-[[Category:Paintings depicting Greek myths]]
+[[Category:Paintings of Greek myths]]
 [[Category:Snakes in art]]

v t e Caravaggio
List of paintings
1593–1594	Boy Peeling Fruit (c. 1592) Young Sick Bacchus (c. 1593) Boy with a Basket of Fruit (c. 1593) Boy Bitten by a Crayfish (c. 1593; lost) The Fortune Teller (c. 1594) The Cardsharps (c. 1594)
1595–1599 Del Monte paintings	The Musicians (c. 1595) Saint Francis of Assisi in Ecstasy (c. 1595) Boy Bitten by a Lizard (c. 1596) The Lute Player (c. 1596) Bacchus (c. 1596) Penitent Magdalene (c. 1597) Rest on the Flight into Egypt (c. 1597) Medusa (c. 1597) Portrait of a Courtesan (Fillide Melandroni) (c. 1597) Jupiter, Neptune and Pluto (c. 1597) Saint Catherine of Alexandria (c. 1598) The Sacrifice of Isaac (Princeton; c. 1598) John the Baptist (c. 1598) Martha and Mary Magdalene (c. 1598) Portrait of Maffeo Barberini (1598) Basket of Fruit (c. 1599) Judith Beheading Holofernes (c. 1599) David and Goliath (c. 1599) Narcissus (c. 1599)
1600–1606 Most famous painter in Rome	The Calling of Saint Matthew (1599–1600) The Martyrdom of Saint Matthew (1599–1600) The Conversion of Saint Paul (1600) The Crucifixion of Saint Peter (1601) The Conversion of Saint Paul on the Road to Damascus (1601) Supper at Emmaus (London; 1601) Amor Victorious (1602) Saint Matthew and the Angel (1602; destroyed) The Inspiration of Saint Matthew (1602) The Incredulity of Saint Thomas (c. 1602) The Taking of Christ (1602) The Entombment of Christ (c. 1603) Saint Francis in Prayer (c. 1603) The Calling of Saints Peter and Andrew (c. 1603–1606) Madonna of Loreto (Madonna dei Pellegrini, Pilgrims' Madonna) (c. 1604) The Crowning with Thorns (Prato; 1604) The Death of the Virgin (1604) Christ on the Mount of Olives (1605) Ecce Homo (Genoa; c. 1605) Saint Jerome in Meditation (c. 1605) Saint Jerome Writing (Rome; c. 1605) Portrait of Pope Paul V (1605) Still Life with Fruit (1605) Madonna and Child with Saint Anne (Dei Palafrenieri) (1606)
1606–1608 Naples and Malta	Ecce Homo (Madrid; c. 1605–1609) Mary Magdalen in Ecstasy (1606) Saint Francis in Meditation (1606) Supper at Emmaus (Milan; 1606) The Seven Works of Mercy (1606) The Crucifixion of Saint Andrew (1607) David with the Head of Goliath (Vienna; 1607) Madonna of the Rosary (1607) The Crowning with Thorns (Vienna; 1607) The Flagellation of Christ (c. 1607) Christ at the Column (c. 1607) Salome with the Head of John the Baptist (London; c. 1607) Saint Jerome Writing (Valletta; 1607) Portrait of Alof de Wignacourt and his Page (1607–1608) Portrait of Fra Antonio Martelli (1608) The Beheading of Saint John the Baptist (1608) Sleeping Cupid (1608)
1608–1610 Sicily and Naples	The Annunciation (1608) The Burial of Saint Lucy (1608) The Raising of Lazarus (1609) Adoration of the Shepherds (1609) Nativity with Saint Francis and Saint Lawrence (1609; lost) Salome with the Head of John the Baptist (Madrid; 1609) Denial of Saint Peter (1610) The Martyrdom of Saint Ursula (1610) David with the Head of Goliath (Rome; 1610)
Related	Paintings attributed to Caravaggio Utrecht Caravaggism Caravaggisti Caravaggio, il pittore maledetto Caravaggio (1986 film) Caravaggio (2007 film) Caravaggio's Shadow