Why did we choose Caravaggio for the cover of the new print magazine of Finestre Sull'Arte?

The Finestre sull’Arte print magazine is finally available, a new 168-page quarterly with lots of in-depth articles, reviews and current events, which you can subscribe to by February 15 (click here for more info). As you may notice, we wanted to dedicate the cover of our first issue to Caravaggio, which will come out with a 12-page in-depth look at one of his greatest masterpieces, the Supper at Emmaus preserved at the Pinacoteca di Brera in Milan.

Some of you asked us why we decided to open with Caravaggio, and we can say that there are several reasons why we chose this masterpiece and this great artist to start our new “adventure.” Of course, we would be lying if we said that we did not do so because Caravaggio is one of the most easily recognizable and most beloved artists by the public: the fascination that his works exert is undeniable, and many people have been moved in front of one of his details, entering a church in Rome where his works are still preserved in the places for which they were imagined, or remembering the troubled story of his biographical story.

But there is also more behind the decision. In fact, few artists like Caravaggio have been featured so consistently in our online magazine: needless to deny it, Michelangelo Merisi is an artist who attracts, around whom we continue to discuss even animatedly (and several discussions about the great Lombard painter, over the years, have also been addressed on the channels of our masthead), leading to new discoveries every year. As a result, we can consider Caravaggio as an artist who has helped this magazine to grow, and to reach a wider and wider audience.

Not only that: there is a lot of discussion around Caravaggio, but also a lot of misdirection. Not a year goes by that wondrous as improbable revelations about his person or production are not announced. Here it is: Finestre Sull’Arte has always sided against those who would like to make Caravaggio (and great artists in general) into media phenomena based on sensationalism. On the contrary, our masthead has always wanted, on the one hand, to popularize Caravaggio’s work in the most correct way (and some of the most successful articles in our magazine concern precisely Caravaggio), and on the other hand, regarding new discoveries, to welcome only contributions from scholars of proven seriousness. Maximum rigor is a goal we have always set ourselves, and it will also animate the print version of our journal.

Finally, why precisely the Brera’s Supper in Emmaus? Well, you will find out in the coming days by following us on our online spaces and on our social channels: we can anticipate that the choice of this painting is functional to the journey that the paper magazine will take you on. In fact, each issue will be thought of as a tour with many interconnected stops. To learn more or to subscribe (at a cost of only 29.90 euros) you can visit our dedicated website.

Pictured below is the cover of our print magazine, issue 1 of which will be released in March (but subscription is already available).

Why did we choose Caravaggio for the cover of the new print magazine of Finestre Sull'Arte?

Warning: the translation into English of the original Italian article was created using automatic tools. We undertake to review all articles, but we do not guarantee the total absence of inaccuracies in the translation due to the program. You can find the original by clicking on the ITA button. If you find any mistake,please contact us.