[Tessa] Well hello! This is Tessa Davidson and I am joined by my husband,
[Tessa] Well hello! This is Tessa Davidson and I am joined by my husband,

T.J. Davidson. [ T.J.] Hello! [Tessa] And we are here and we're gonna be talking about
T.J. Davidson. [ T.J.] Hello! [Tessa] And we are here and we're gonna be talking about

Caravaggio's famous painting called "The Entombment." Okay, so just as a backdrop,
Caravaggio's famous painting called "The Entombment." Okay, so just as a backdrop,

this was painted in the Baroque period. [T.J.] If it's not broke don't fix it!
this was painted in the Baroque period. [T.J.] If it's not broke don't fix it!

[Tessa] Well in the 17th century, things were broken because a lot of people have left
[Tessa] Well in the 17th century, things were broken because a lot of people have left

the Catholic church. And in the Counter-Reformation, in the Baroque
the Catholic church. And in the Counter-Reformation, in the Baroque

period, you have the Catholic church commissioning a bunch of artwork that's
period, you have the Catholic church commissioning a bunch of artwork that's

intended to catch people's attention. [T.J] So you're saying art was used as their
intended to catch people's attention. [T.J] So you're saying art was used as their

social media marketing of the day? [Tessa] Very much so. Yes, this was the way that
social media marketing of the day? [Tessa] Very much so. Yes, this was the way that

they would communicate ideas to the masses. And so you've seen a lot
they would communicate ideas to the masses. And so you've seen a lot

of work just being on the road with me and going to museums...
of work just being on the road with me and going to museums...

What sets his work apart from other artists you've seen? [T.J] Chiaroscuro! [Tessa] Ooh, I like that.
What sets his work apart from other artists you've seen? [T.J] Chiaroscuro! [Tessa] Ooh, I like that.

If you didn't catch that, my husband just dropped an
If you didn't catch that, my husband just dropped an

Italian term. You said "chiaroscuro," so what are you referring to? [T.J.] It's the
Italian term. You said "chiaroscuro," so what are you referring to? [T.J.] It's the

extreme play of like light and dark. [Tessa] Yeah, yeah, he uses this almost like black
extreme play of like light and dark. [Tessa] Yeah, yeah, he uses this almost like black

backdrop and has these dramatic lighting scenarios. This is also called tenebrism;
backdrop and has these dramatic lighting scenarios. This is also called tenebrism;

this extreme contrasts of dark and light. [T.J.] It almost is like a spotlight is
this extreme contrasts of dark and light. [T.J.] It almost is like a spotlight is

being shown on Jesus. [Tessa] Yeah. Again, the Baroque period was all about catching
being shown on Jesus. [Tessa] Yeah. Again, the Baroque period was all about catching

people's attention. [T.J.] I don't know, it seems as if there's a lot of action going on.
people's attention. [T.J.] I don't know, it seems as if there's a lot of action going on.

Everybody's looking different ways. [Tessa] Yeah. And some people have even said these are
Everybody's looking different ways. [Tessa] Yeah. And some people have even said these are

a variety of different ways that we can react or contemplate the death of Christ.
a variety of different ways that we can react or contemplate the death of Christ.

In the Baroque period, they were trying to infuse their paintings with lots of
In the Baroque period, they were trying to infuse their paintings with lots of

movement and drama and theater and action. And to compare this with artwork
movement and drama and theater and action. And to compare this with artwork

that took place 100 years prior-- in the Renaissance-- you would see everything
that took place 100 years prior-- in the Renaissance-- you would see everything

very symmetrically balanced. But not so in the Baroque
very symmetrically balanced. But not so in the Baroque

period. You often had these diagonal compositions and lots of movement taking
period. You often had these diagonal compositions and lots of movement taking

place. And so what other things do you find interesting or compelling about
place. And so what other things do you find interesting or compelling about

this work? [T.J.] Well, I guess, since I'm an art aficionado... I see the guy in the green
this work? [T.J.] Well, I guess, since I'm an art aficionado... I see the guy in the green

has that red sash on-- right around Jesus's body,
has that red sash on-- right around Jesus's body,

which, kind of, reminds me of Jesus's blood or things like that.
which, kind of, reminds me of Jesus's blood or things like that.

[Tessa] Yeah, it's like spilling out. [T.J.] Yeah, I was also looking, talking about theatrical style,
[Tessa] Yeah, it's like spilling out. [T.J.] Yeah, I was also looking, talking about theatrical style,

the guy in the orange-- he's just very dramatically posed, like he's holding
the guy in the orange-- he's just very dramatically posed, like he's holding

just Jesus' legs but his arm is like wrapped all the way around.
just Jesus' legs but his arm is like wrapped all the way around.

[Tessa] Yeah, he has to put his whole body into holding his legs! [T.J.] Right, which is just very
[Tessa] Yeah, he has to put his whole body into holding his legs! [T.J.] Right, which is just very

unnatural, it seems to me. [Tessa] You get the sense that Christ's body is so heavy, like it takes
unnatural, it seems to me. [Tessa] You get the sense that Christ's body is so heavy, like it takes

two men to really stoop over and-- they're not graceful in their way of holding him.
two men to really stoop over and-- they're not graceful in their way of holding him.

They're trying to balance him. I mean, really Christ is the only steady
They're trying to balance him. I mean, really Christ is the only steady

figure anchoring this whole painting. Everybody else is kind of wobbling about
figure anchoring this whole painting. Everybody else is kind of wobbling about

and unsteady. Speaking about naturalism, Caravaggio was known for not
and unsteady. Speaking about naturalism, Caravaggio was known for not

even idealizing his subjects. I mean, that man there, he looks like he could
even idealizing his subjects. I mean, that man there, he looks like he could

have been picked up off the street, and he might have been to be used as one of
have been picked up off the street, and he might have been to be used as one of

his models. It's believed that that figure is Nicodemus, and he has the face of
his models. It's believed that that figure is Nicodemus, and he has the face of

Michelangelo. Now they say with Caravaggio paintings, one of the best way
Michelangelo. Now they say with Caravaggio paintings, one of the best way

to move through the composition is not necessarily by looking at the faces, but
to move through the composition is not necessarily by looking at the faces, but

by looking at the hands. So you've already identified Christ, what are their
by looking at the hands. So you've already identified Christ, what are their

reactions are people giving? [T.J.] Well, you see the two hands in the air and the one
reactions are people giving? [T.J.] Well, you see the two hands in the air and the one

hand-- that lady putting her hand on her forehead. And then one lady it looks
hand-- that lady putting her hand on her forehead. And then one lady it looks

like she's laying her hand out, getting ready to, like, tap Jesus on the head. [Tessa] It
like she's laying her hand out, getting ready to, like, tap Jesus on the head. [Tessa] It

looks like she wants to almost touch him, or an embrace him. Alright, so who do you
looks like she wants to almost touch him, or an embrace him. Alright, so who do you

think this older woman is? [T.J.] I would not think is his mother was that old.
think this older woman is? [T.J.] I would not think is his mother was that old.

[Tessa] Actually that is the Virgin Mary, and a lot of people didn't recognize her
[Tessa] Actually that is the Virgin Mary, and a lot of people didn't recognize her

because: 1. She's not idealized, but, 2. There was a strong Catholic
because: 1. She's not idealized, but, 2. There was a strong Catholic

tradition where they would not show the Virgin Mary older. They always depicted
tradition where they would not show the Virgin Mary older. They always depicted

her as if she remained in her purity and
her as if she remained in her purity and

never aged. [T.J.] Oh that's what I saw in the "Pieta." [Tessa] Right, right, exactly! So Michelangelo
never aged. [T.J.] Oh that's what I saw in the "Pieta." [Tessa] Right, right, exactly! So Michelangelo

chose to keep her in that pure state, but here, Caravaggio goes
chose to keep her in that pure state, but here, Caravaggio goes

against the norm. Okay, so let's keep going. And what about the woman
against the norm. Okay, so let's keep going. And what about the woman

holding her hair? [T.J.] Yeah, so that's that's Mary Magdalene. [Tessa] That's right, it's
holding her hair? [T.J.] Yeah, so that's that's Mary Magdalene. [Tessa] That's right, it's

confusing in this one because there's three Mary's represented. We've got the
confusing in this one because there's three Mary's represented. We've got the

Virgin Mary, we've got Mary Magdalene, who's holding this tissue but her hair
Virgin Mary, we've got Mary Magdalene, who's holding this tissue but her hair

is kind of twirled up... and then on the far right is the other Mary, Mary of
is kind of twirled up... and then on the far right is the other Mary, Mary of

Clopas, and with her arms extended outward. [T.J.] It does look like the guy in the
Clopas, and with her arms extended outward. [T.J.] It does look like the guy in the

green... who's that is that? Thomas or who's that? [Tessa] Well it's debated over who that is.
green... who's that is that? Thomas or who's that? [Tessa] Well it's debated over who that is.

Some people believe that it's John the Evangelist, so that could be...
Some people believe that it's John the Evangelist, so that could be...

[T.J.] But he's touching the, I see he's touching the spear wound. [Tessa] Yeah, and I mean, like he's
[T.J.] But he's touching the, I see he's touching the spear wound. [Tessa] Yeah, and I mean, like he's

holding up his body, but his fingers get into that spear wound. And oh! That just
holding up his body, but his fingers get into that spear wound. And oh! That just

gives me the creeps just thinking about his fingers there in that wound.
gives me the creeps just thinking about his fingers there in that wound.

Baroque art-- it gets under your skin, no pun intended. But it really
Baroque art-- it gets under your skin, no pun intended. But it really

crawls into the the viewer's mind and tries to awaken you. [T.J.] Right, yeah,
crawls into the the viewer's mind and tries to awaken you. [T.J.] Right, yeah,

uh-huh. It looks like Jesus he's touching the tomb there, and so he's like "This is
uh-huh. It looks like Jesus he's touching the tomb there, and so he's like "This is

where I'm going." But then, Mary of Clopas, it looks like she's almost
where I'm going." But then, Mary of Clopas, it looks like she's almost

like foreshadowing the resurrection. [Tessa] Yeah, yeah, that's interesting. There's a lot of
like foreshadowing the resurrection. [Tessa] Yeah, yeah, that's interesting. There's a lot of

themes here. Life and death and resurrection. There are some other things
themes here. Life and death and resurrection. There are some other things

that indicate resurrection. [T.J.] The little plant at the bottom left... am I right?! [Tessa] Right!
that indicate resurrection. [T.J.] The little plant at the bottom left... am I right?! [Tessa] Right!

[T.J.] Just for the record, she did not point that out to me, but I saw a plant and I
[T.J.] Just for the record, she did not point that out to me, but I saw a plant and I

thought, okay, well that's a living thing and it's by the tomb. [Tessa] That's right, and it's not
thought, okay, well that's a living thing and it's by the tomb. [Tessa] That's right, and it's not

just any plant, this was called a "mullein," and it was thought to have medicinal
just any plant, this was called a "mullein," and it was thought to have medicinal

properties. It was said to ward off evil spirits, and it certainly can speak into
properties. It was said to ward off evil spirits, and it certainly can speak into

this symbol of resurrection and Christ's triumph over death. I had mentioned that
this symbol of resurrection and Christ's triumph over death. I had mentioned that

the Baroque period tried to really connect to its viewers. So what are ways
the Baroque period tried to really connect to its viewers. So what are ways

that you, as a viewer, you're being brought into this painting? [T.J.] It
that you, as a viewer, you're being brought into this painting? [T.J.] It

looks almost as if Nicodemus is looking at me..You did this! [Tessa] Oh [T.J.] You put him in
looks almost as if Nicodemus is looking at me..You did this! [Tessa] Oh [T.J.] You put him in

here. [Tessa] It certainly gets us to reflect on our own response. [T.J.] Something else that
here. [Tessa] It certainly gets us to reflect on our own response. [T.J.] Something else that

brings me in is they're almost, like, mid-action... so it's almost as if this was a
brings me in is they're almost, like, mid-action... so it's almost as if this was a

video, and they just stopped it mid-scene. And so I want to know what's gonna
video, and they just stopped it mid-scene. And so I want to know what's gonna

happen next. [Tessa] Yeah, it leaves us hanging and... [T.J.] As Jesus is hanging? That was a good one, Tessa.
happen next. [Tessa] Yeah, it leaves us hanging and... [T.J.] As Jesus is hanging? That was a good one, Tessa.

[Tessa] And we're we're seeing it not in its original location. So it was originally
[Tessa] And we're we're seeing it not in its original location. So it was originally

commissioned by the Vittrice family, and it was an altarpiece in one of the
commissioned by the Vittrice family, and it was an altarpiece in one of the

chapels of the Chiesa Nuova in Rome. So this would have been located in a church,
chapels of the Chiesa Nuova in Rome. So this would have been located in a church,

and not just in a church--but above the altar. And so you have to see this as
and not just in a church--but above the altar. And so you have to see this as

a visual counterpart to the mass. And so the priest, he would have raised the
a visual counterpart to the mass. And so the priest, he would have raised the

bread. And as he raised the bread, this painting would have been right behind
bread. And as he raised the bread, this painting would have been right behind

him. And so, it's one thing to see
him. And so, it's one thing to see

this in the Vatican Museum and to appreciate its artistic quality, but to
this in the Vatican Museum and to appreciate its artistic quality, but to

also make note of its aesthetic function within this space, I think, is important.
also make note of its aesthetic function within this space, I think, is important.

Alright, well, thanks for chatting with me about this incredible painting "The
Alright, well, thanks for chatting with me about this incredible painting "The

Entombment" by Caravaggio. We'll see you next time!
Entombment" by Caravaggio. We'll see you next time!

you
you