A close-up look at Caravaggio’s painting David with the Head of Goliath — one of the most psychologically intense works of Baroque art. I reflect on the artist’s biography and how this unsettling image blurs the line between violence, remorse, and self-representation.

David with the Head of Goliath by Caravaggio – art and introspection | カラヴァッジョ作「ゴリアテの首を持つダビデ」 – 芸術と内省 | 卡拉瓦乔《提着歌利亚头颅的大卫》- 艺术与内省 | 카라바조의 「골리앗의 머리를 든 다윗」 – 예술과 성찰 | David con la cabeza de Goliat de Caravaggio – arte e introspección | David tenant la tête de Goliath par Caravaggio – art et introspection | David mit dem Kopf von Goliath von Caravaggio – Kunst und Selbstreflexion | Dawid z głową Goliata, Caravaggio – sztuka i introspekcja

The first time I saw this painting was over ten years ago during my first visit to Rome’s Galleria Borghese. Our guide told us that the severed head, dangling lifelessly, was in fact a self-portrait of the artist himself. At the time, I couldn’t quite fathom what must have been going through the painter’s mind to make such a choice. Since then, I’ve grown a bit wiser, partly because I’ve been jotting down notes on this blog – not just recording what I observed or learned on-site but also diving into online research. In the meantime, I also completed a degree in psychology, so fewer things surprise me now. (No, this won’t be a psychology post!)

Anyway, when I returned to the Galleria Borghese last year, I remembered to take a photo of that painting. This time, I was also accompanied by a guide who briefly explained the context of the piece. The painting, titled David with the Head of Goliath, was created by the Italian master Caravaggio. Below is a bit more of an expanded version of what I was told by the guide.

David with the Head of Goliath – one of the Caravaggio’s final works. It depicts the biblical hero David holding the severed head of Goliath, but with a personal twist – Caravaggio used his own face for Goliath’s expression of anguish and defeat.  If you look closely at the painting, Goliath’s head although put into its corner dominates the composition, overshadowing the rest of the scene.

The story of David and Goliath, one of the most iconic tales from the Old Testament. Goliath was a towering warrior from the Philistine army, an enemy of the Israelites, who intimidated the Israelite soldiers daily with his sheer size and strength. For forty days, he taunted them, challenging any one of their men to single combat to decide the battle. But none dared to face him, as he seemed utterly undefeatable. David, a young shepherd and the youngest son in his family, came to the Israelite camp to deliver provisions to his older brothers. Hearing Goliath’s challenge, David was outraged by the giant’s mockery of his people and of their God. Despite his youth and lack of experience in battle, he volunteered to fight Goliath. He was driven by his deep belief that he could succeed with God’s help. Rejecting conventional armour and weapons, which were too heavy for him, David took his shepherd’s sling and selected five smooth stones from a nearby stream. Approaching Goliath with nothing more than his sling and his faith, he struck the giant on the forehead with a single stone. The impact was so precise and forceful that Goliath fell. David approached Goliath and, using the giant’s own sword, severed his head.

Now let us look at Caravaggio’s life and what could have brought him to make this self-portrait. Caravaggio, born Michelangelo Merisi (1571-1610), was an Italian painter renowned for his revolutionary contributions to Baroque art. He was born either in Milan or in the nearby town of Caravaggio, from which his name is derived. At just six years old, Caravaggio faced tragedy when both his father and grandfather died during a plague outbreak, leading to a childhood marked by poverty and hardship. In his teenage years, he was apprenticed to Simone Peterzano, a relatively unknown artist in Milan, where he learned the fundamental techniques of painting. However, at the age of 21, Caravaggio left Milan for Rome, where he quickly gained a reputation not only for his exceptional talent but also for his volatile personality.

Caravaggio’s painting style, characterised by intense realism and the dramatic use of light and shadow soon established him as one of the most sought-after artists of his time. Uniquely, unlike other artists who typically began with preparatory sketches, Caravaggio painted directly onto the canvas, creating his compositions straight from his imagination. But even without formal training in art history, one can easily observe, based on the paintings displayed at the Borghese Gallery (an impressive six out of the 68 recognised paintings), that his works vary significantly in style and subject matter. To understand Caravaggio’s art and the stylistic changes in his work, we must examine his tumultuous life rather than just a change of style due to new artistic inspirations.

Caravaggio’s existence was marked by numerous brawls and frequent run-ins with the law. He was arrested multiple times for various offences, including carrying weapons illegally and assaulting others. In 1606, he killed a man named Ranuccio Tomassoni in a duel. There are several theories regarding the cause of the altercation, ranging from a gambling dispute to a disagreement over a tennis match or a conflict concerning a woman. The confrontation escalated into a violent encounter that ended with Caravaggio fatally wounding Tomassoni by striking his femoral artery. This incident had severe repercussions, as Caravaggio was sentenced to death for murder, forcing him to flee Rome and spend the remaining years of his life as a fugitive. A bounty was placed on his head, effectively allowing anyone to kill him with impunity. Over the following years, he moved between Naples, Malta, and Sicily in an attempt to rebuild his life. He briefly joined the Knights of Malta, but his unruly behaviour continued, leading to his expulsion from the order after he assaulted a senior knight. Caravaggio died in 1610 under mysterious circumstances, possibly due to fever or lead poisoning, while on his way back to Rome seeking a papal pardon.

Caravaggio’s paintings created before his flight from Rome were predominantly commissioned for the city’s churches and private collectors, such as Cardinal Scipione Borghese, who initiated the collection now largely housed at the Galleria Borghese. His works from this period are characterised by clear, dramatic lighting, which he used to enhance the emotional impact and dramatic tension of his scenes. The subjects varied from biblical narratives to portraits and allegorical representations. His paintings were rich in detail and highly realistic, with figures portrayed in strong, direct light. Just, compare the painting of Saint Jerome, I wrote about a few weeks ago that was commissioned by Cardinal Borghese just before Caravaggio fled Rome.

David with the Head of Goliath by Caravaggio – art and introspection | カラヴァッジョ作「ゴリアテの首を持つダビデ」 – 芸術と内省 | 卡拉瓦乔《提着歌利亚头颅的大卫》- 艺术与内省 | 카라바조의 「골리앗의 머리를 든 다윗」 – 예술과 성찰 | David con la cabeza de Goliat de Caravaggio – arte e introspección | David tenant la tête de Goliath par Caravaggio – art et introspection | David mit dem Kopf von Goliath von Caravaggio – Kunst und Selbstreflexion | Dawid z głową Goliata, Caravaggio – sztuka i introspekcja

After his flight from Rome, Caravaggio’s art became increasingly sombre. He began to focus more on themes of suffering, death, and penitence. The compositions from this period are characterised by a more restrained use of colour, with darker tones. A prime example is David with the Head of Goliath, in which the face of Goliath bears the features of Caravaggio himself. It’s not only the tones. Also the entire setting is unusually desperate.

The severed Goliath’s head – Caravaggio’s self-portrait. The somber tones contribute to the intense psychological depth of the painting. It is seen as a poignant reflection of Caravaggio’s state of mind in the final years of his life.

The classic symbolism of the story of David and Goliath – good triumphing over evil, faith over brute strength – in fact doesn’t quite align with Caravaggio’s own situation. In his case, portraying his own face as the defeated Goliath suggests a more personal introspection. It is not a celebration of victory over an enemy, but rather an expression of inner conflict, remorse, and reflection on his turbulent life.

David with the Head of Goliath by Caravaggio – art and introspection | カラヴァッジョ作「ゴリアテの首を持つダビデ」 – 芸術と内省 | 卡拉瓦乔《提着歌利亚头颅的大卫》- 艺术与内省 | 카라바조의 「골리앗의 머리를 든 다윗」 – 예술과 성찰 | David con la cabeza de Goliat de Caravaggio – arte e introspección | David tenant la tête de Goliath par Caravaggio – art et introspection | David mit dem Kopf von Goliath von Caravaggio – Kunst und Selbstreflexion | Dawid z głową Goliata, Caravaggio – sztuka i introspekcja

Caravaggio’s works fell out of favour in the 18th century, as his aesthetic and style were considered too brutal and lacking in elegance when compared to more classical artists. As a result, his paintings lost popularity, and the artist himself faded into obscurity for many years. It was not until the 20th century, when his technique of chiaroscuro (the contrast of light and shadow) and realistic portrayal of figures drew renewed interest, that his oeuvre was re-evaluated and appreciated once again. Consequently, Caravaggio came to be regarded as one of the most significant precursors of modern painting, influencing many later artists, such as Rembrandt. (I will write soon on twists in his life as well after the recent visit in Rijksmueseum in Amsterdam). Although Rembrandt likely never saw Caravaggio’s paintings in person, he was indirectly influenced by the Italian master’s style through Dutch painters belonging to the Utrecht Caravaggisti school. These artists travelled to Italy, where they drew inspiration from Caravaggio’s dramatic use of light and shadow, incorporating it into their own works and thus transmitting it back to the Netherlands.

The number of paintings attributed to Caravaggio varies widely depending on the source, ranging from 68 to as many as 105. However, this higher figure likely includes not only confirmed authentic works but also pieces attributed to him or copies created by his followers and students. The majority of verified Caravaggio paintings are housed in museums and galleries, and his works are a rarity on the auction market, which further elevates their value. One of the most high-profile recent cases involved the sale of a painting discovered in an attic in France in 2014. Initially, it was set to be auctioned with an estimated price of between €100 million and €150 million. However, it was eventually sold in a private transaction before reaching the auction block. The largest collection of Caravaggio’s paintings is held by the Galleria Borghese in Rome, which owns six of his works, including Boy with a Basket of Fruit, Sick Bacchus, Saint Jerome Writing, and David with the Head of Goliath. In Rome, other notable collections of his works can be found at the Galleria Nazionale d’Arte Antica in Palazzo Barberini and the Galleria Corsini. Significant examples of his paintings are also located in Roman churches such as San Luigi dei Francesi, which hosts the cycle of paintings dedicated to Saint Matthew, and Santa Maria del Popolo. Outside Rome, major collections of Caravaggio’s works can be found in Florence (at the Uffizi Gallery and Palazzo Pitti) and Naples (at the Capodimonte Museum), where his later works can be admired. Although most of his paintings are concentrated in Italy, several are housed in museums outside the country, such as the Prado Museum in Madrid (unfortunately there is a strict ban on making photos there) and the National Gallery in London.