On May 6, stolen Verona paintings from the Castelvecchio Museum were discovered in the Odessa region. Ukrainian border guards, following a tip from the Italian police, found all 17 paintings that were sent by courier and hidden during the arrest of a gang of robbers in Chisinau.
Experts will tell us about the condition of the paintings, and measures are being taken to return them to Verona. Verona is preparing for a celebration in the city in honor of the return of its paintings to the Castelvecchio Museum.
The beginning of 2016 is distinguished by a rich catch; not only Verona paintings were seen by Ukraine. In March 2016, 4 paintings were discovered, out of 24 stolen from the Dutch Hoorn Museum in January 2005. The first of them, A Play in the Kitchen, by Floris Van Schouten of the 17th century, was taken by three Ukrainians to Berlin, where they were detained. The story is dark, the Dutch accused Ukrainian politicians of having stolen paintings, and there were ransom demands. Only 4 paintings are ready to return to the Holland Museum. The fate of another 20 paintings and 70 silver items stolen more than 10 years ago is still unknown.
Kitchen Play, 17th century, Floris van Schouten - returned to the Horn Museum
The Odessa Art Museum was repeatedly robbed.
2005
A thief stole Aivazovsky's painting sea view 1865.On a weekend in June 2005, an attacker broke a window, climbed into the hall on the second floor and stole a painting, which is small in size: 30 by 39 cm. A year later, the work of a marine painter was discovered in the possession of a 37-year-old resident of Alexandria, Kirovograd region, who was engaged in theft antiques.
Saint Luke, 17th century, Frans Halsem, Odessa Museum, Ukraine
Seascape Aivazovsky 1865 returned to the Museum, but is in storage; it was not exhibited for unknown reasons. The painting has an inscription by the artist in Italian; photographs have not been published.
1965
For a long time, a painting by an anonymous Russian artist was kept in the storerooms of the Museum of Western and Eastern Art in Odessa. In the 50s of the last century it was determined that the canvas Saint Luke written in the 17th century by a Fleming Fransem Halsem. At an exhibition in Moscow in 1965, the painting of St. Luke was stolen by a restorer; a year later it was found and returned to Odessa. The thief was sentenced to 10 years in prison. Filmed based on this crime famous film Return of Saint Luke.
2008
A work by Caravaggio was stolen from the Odessa Museum - only job artist in Ukrainian collections. On July 31, 2008, a lone thief entered the museum through a window, cut a painting from its frame, and escaped through the roof. The crime was successful because the museum had almost no security system. Meanwhile, the stolen masterpiece was estimated to be worth up to $100 million.
Kiss of Judas, Caravaggio, 1598-1602?, Odessa Museum, Ukraine
The canvas in the Odessa Museum is one of the versions of the painting and dates back to approximately 1598 - 1602. Its cost is about 60 million euros, but its authorship is constantly discussed and questioned. More known version Taking Christ into custody dates back to 1602 and is in the Irish National Gallery in Dublin. Early version purchased in Paris by the Russian ambassador to France and presented it to Grand Duke Vladimir Alexandrovich. After the revolution, the painting was transferred to Odessa art school, from where it ended up in the Museum of Western and Eastern Art.
The thieves recently tried to sell the painting, stolen in 2008 in Odessa, in Berlin, where they were arrested. 4 arrests in Germany, 20 in Ukraine, and the painting returned to its rightful place - in the Odessa Museum.
Michelangelo Merisi from Caravaggio (1571 — 1610)
The Kiss of Judas or the Taking of Christ into custody , 1602, oil on canvas, 133.5 by 169.5 cm
Irish National Gallery, Dublin
Kiss of Judas, Caravaggio, 1602, Dublin Gallery, Ireland
The painting was commissioned by Ciriaco Maffei to the artist Caravaggio in Rome. The Customer's brother, Cardinal Girolamo Maffei, suggested the artist the subject and iconography for the future painting. On January 2, 1603, Caravaggio received 125 crowns for the completed work.
The composition on the canvas is presented horizontally. In the center there are two main characters - Jesus and Judas. Captive Jesus in the clutches of the traitor Judas, followed by the fleeing Saint John, whose face is distorted by a cry. He anticipates the suffering of Jesus that will inevitably follow his arrest. On the right, a young character with a lamp illuminating the action scene attracts attention. Many experts are confident that this is the face of the artist himself - his self-portrait among the characters on the presented scene - in the form of Diogenes. The lantern in his hand is an allegory of the search for the truth of faith. The dynamism of the scene is enhanced by the reflection of light on the chain mail of the guards.
Only in 1990, after a thorough restoration of the canvas Kiss of Judas the curator of the Dublin gallery suggested that this was a painting by Caravaggio. After cleaning and restoration, a true masterpiece of the master of painting emerged, and tireless searches in the archives of the Maffei family in Recanati discovered an entry in an old expense journal about the payment of money to the artist Caravaggio for the painting. All doubts about authorship have disappeared.
There are 12 known paintings with a similar plot; many copies were made by the authors themselves when the painting was in demand. For a long time, the painting in the Odessa Museum of Art was considered the original, and the Dublin one was considered a copy. It is difficult to say what was painted by the artist earlier and what later, because in such cases we are talking about one or two years of difference between the paintings. This can only be determined with the help of archives; examinations are unlikely to help. About Andrea Mantegna's masterpiece Holy family, discovered in the Odessa region, read the article
Biblical stories: The Kiss of Judas through the eyes of artists
Judas Iscariot. This biblical name and the story associated with it have become a symbol of betrayal. Thirty pieces of silver, for which Judas agreed to tell about Jesus, is payment for this betrayal. All biblical stories have inspired representatives for two thousand years. different types art. The story of Judas, along with others, often appears on the canvases of artists.
History of the painting Caravaggio"The Kiss of Judas" is amazing in itself. The master painted it by order of Chiriaco Mattei in 1602. However, two centuries later the work disappeared. It was discovered quite recently, when in 1990 the painting was identified by the chief restorer of the National Gallery of Ireland, Sergio Benedetti. For a long time, Caravgio’s painting hung in the Society of Jesus in Dublin. It was considered a copy of the painting Dutch painter Gerard van Honthorst. The work is now in the National Gallery of Ireland.
Refers to the image of Judas Italian artist, one of the most prominent representatives of the Siena school Duccio di Buoninsegna. Main job The altar image of the Siena Cathedral "Maesta" is considered to be the master's. Its creation dates back to the beginning of the 14th century.
The betrayal of Jesus' disciple was included in the series of works "Great Passions" Albrecht Durer. On the engraving German painter and graphics we see how the Savior is taken into custody. Judas sits and stretches out next to him. There is suffering and pain on the face of Jesus, while the traitor nervously and hastily tries to explain himself to the teacher.
The Prado Museum in Madrid houses the Kiss of Judas, written by a representative of the Neapolitan school. Giordano Luca. The traitor peers into the face of Jesus with despair. But the eyes of the son of God are closed, his head is turned, his hand reaches to his heart.
On the fresco Giotto Di Bondone drama unfolds. Illustrating biblical story, the author uses all means artistic expression to emphasize the significance and greatness of Christ and contrast him with the ugliness and meanness of Judas. The artist confronts the high and the low, morality and its absence. The calm and confident gaze of Jesus meets the repulsive and unpleasant eyes of the traitor. Giotto enlivens the composition by surrounding the teacher and student, frozen in tension. Staticity and concentration in the center contrasts with the dynamics around.
July 31, 2018 will mark 10 years since a painting (or a copy thereof) by the Italian artist, founder of realism in painting Michelangelo Merisi da Caravaggio (1571-1610) “The Taking of Christ into custody, or the Kiss of Judas” was stolen from the Odessa Museum of Western and Eastern Art .
On June 25, 2010, a priceless piece of Baroque art, estimated by experts to be worth $100 million, was intercepted in Berlin when possible thieves (three Ukrainians and one Russian) tried to sell it to a local collector.
In August of the same year, the Germans transferred the painting to Ukraine, but it never reached its “native” Odessa - it “settled” in the capital’s National Research Institute restoration center Ukraine. In the status of “material evidence” in a case of kidnapping and smuggling, which has been considered in the Podolsk District Court of Kyiv for the eighth year.
Priceless Caravaggio became “material evidence”
Since Caravaggio’s painting became “physical evidence,” the court banned its restoration. The Odessa Museum is trying to cancel it. The fact is that during the abduction, the criminals cut the painting out of the stretcher, and instead of being in a stretched state, it was stored like a scroll.
Because of this, the canvas shrunk, microcracks appeared on it, and the paint began to crumble. After the Judas Kiss fell into the hands of the German authorities, the Berlin art gallery began its restoration, which they did not have time to complete, returning it to Ukraine.
Currently, the painting is kept under guard at the National Restoration Center: in a separate, adapted room with natural light, unfolded on a table. As soon as the court gives the go-ahead, specialists are ready to immediately begin restoration.
The Odessa Museum long ago transferred to Kyiv the edges of the canvas that remained on the frame after the painting (size 134x172.5 cm) was cut out by thieves. They can be “fused” with the canvas, and then it needs to be stretched.
In response to persistent requests from the leaders of the Odessa Museum, in February 2018, the Podolsk District Court ordered an inspection of the condition of the painting and the conditions of its storage. Representatives of the restoration center must report to the court hall. Perhaps they will be able to convince Themis to allow them to begin saving the national treasure.
Odessa “Kiss of Judas” - Caravaggio or a copy?
It is still not known whether the painting intercepted in Germany is an original by Caravaggio. The National Restoration Center calls it just that: “a painting attributed to the brush of Caravaggio.”
For a long time, the Odessa “Taking Christ into Custody” was considered an author’s copy or original work Italian. The National Gallery of Ireland in Dublin strongly disagreed with the latter statement.
Caravaggio painted “The Taking of Christ into Custody, or the Kiss of Judas” in 1602 by order of the Roman nobleman Chiriaco Mattei for 125 gold coins. In the 18th century, the painting disappeared, but in 1990 it was found by the chief restorer of the National Gallery of Ireland, Sergio Benedetti. He identified the masterpiece in a painting hanging since the 1930s in the refectory of the Society of Jesus in Dublin. Later, Caravaggio’s brush was confirmed in the laboratory of the National Gallery in London.
Before this, it was believed that the Jesuits had a copy of the lost original by Gerard van Honthorst, one of Caravaggio’s Dutch followers. The Society of Jesus has given The Kiss of Judas on perpetual loan to the Dublin Gallery.
"The Kiss of Judas" by Caravaggio from the National Gallery of Ireland
The history of the Odessa “Kiss of Judas” begins in 1870, when the famous Russian diplomat and collector Alexander Bazilevsky presented the painting to Grand Duke Vladimir Alexandrovich. Later, the canvas was transferred to the Odessa Art School, and after the Bolsheviks came to power in the 20s - to the Gallery of Ancient Painting, which later became the Museum of Western and Eastern Art.
In the 1950s, the head of the department Western European art State Museum of Fine Arts named after Pushkin, Ksenia Malitskaya identified the work of Caravaggio in “The Kiss of Judas.”
After the original painting was declared in Dublin, the Odessa Museum claimed that they had an original copy of Caravaggio himself. Experts agree that this is indeed a copy famous painting(at least 12 of them are known), dating back to the 17th century.
In 2012, Tatyana Bychko, deputy director of the National Research Center for Restoration, where the painting is now located, said that the Hermitage had denied that the Odessa Kiss of Judas was painted by Caravaggio. In 1954, this painting was restored in the Grabar workshops of the St. Petersburg Museum. And they believe that the manner of its writing is very different from the style of Caravaggio. This is confirmed by X-ray examination.
“The Kiss of Judas” by Caravaggio from the Odessa Museum of Western and Eastern Art Be that as it may, art historians are inclined to believe that the Odessa “Kiss of Judas” was painted by the Italian artist Giovanni di Atilli 10 years after the death of Caravaggio. For this copy he received 12 gold from Asdrubale Mattei, the brother of Chiriaco Mattei, owner of the original from Caravaggio. There is an entry to this effect in Mattei's books.
Proving that it was Caravaggio who painted this or that picture, and not his many followers and imitators, is a huge problem. The master had a huge influence on European fine arts XVIII century, and artists diligently replicated his works.
A few years ago the market shook loud scandal, when the former owner of a copy of Caravaggio’s painting “Rounders” was suing the Sotheby’s auction house. The Thwaites family from Great Britain acquired this painting in 1962 as the work of a student of the great master. In 2006, Bill Thwaites approached Sotheby's to sell a painting he had inherited. Experts auction house studied it and declared that it was the work of an unknown author dating back to the period of the “Old Masters” - Western European artists before the beginning of the 18th century. “Rounders” was bought by Orietta Adam for £42,000.
Some time later, her friend, the famous collector Sir Dennis Mahon, announced that it was a work by Caravaggio from 1595, worth at least 10 million pounds sterling. They say this was established by an examination. Cheap Thwaites filed for auction house to court, accusing him of poor-quality examination. After considering the claim, the court rejected his claims on the basis of lack of confirmation that this work really belong to the brushes of Caravaggio. By the way, “Rounder” (circa 1594) is in the list of paintings by the master.
Talented brawler
Michelangelo Merisi, who took the nickname Caravaggio, had a very difficult biography. Even in his youth, the talented painter was known as a hot-tempered brawler, had a reputation as a gambler and brawler, was repeatedly convicted of murder, and spent several years in exile.
His contemporaries did not immediately accept his work: the artist emphasized the separation of shadows from light, which gave a three-dimensional image of people and objects; he chose people from the street as the heroes of his works and showed life without embellishment - as it is. In addition, Caravaggio made the saints in his paintings based on biblical scenes look too much like ordinary people, which the churchmen really didn’t like. Because of this, many orders that the Roman Catholic Church gave him were rejected; they were bought out by the artist’s “sponsors” and patrons.
After crying in the Garden of Gethsemane, Jesus Christ descends down the mountain and at this time the guards appear, and with them Judas Iscariot. He told the guards, “Whoever I kiss is Jesus.” Judas kissed Jesus, betraying him, after which Jesus Christ was arrested. For this Judas received 30 pieces of silver.
In Russian culture :
Precedent situation Betrayal of Judas.
Judas- symbol of betrayal ( For example : You are a real Judas, you deceived and betrayed me).
Thirty pieces of silver– situation attribute ( Why did you decide to go over to the side of my enemies? For 30 pieces of silver? Did they pay you?).
Hang on an aspen tree- an attribute of the situation (according to legend, Judas, after the betrayal of Jesus Christ, hanged himself on an aspen tree.
Kiss of Judas– Judas betrays Jesus Christ to the guards, kissing him on the cheek so that they understand that this is Jesus Christ.
The Apostle Peter, as Jesus Christ predicted in the Last Supper, also denied Jesus three times even before the first rooster, saying that he did not know him (A.P. Chekhov in the story “The Student” compares the act of his student hero with the act of Peter, who repents of having betrayed his teacher) (Chekhov “Student”).
ICON"The Last Supper, Washing of the Feet, Prayer for the Cup, Tradition Judas"Double-sided icon-tablet Late XV - early XVI centuries. 24 = 19.5 cm Novgorod.
Nikolay Ge. Conscience. Judas. (1891 ).
Nikolay Ge. "Conscience. Judas" (1891). Judas here is no longer the same as in the work “The Last Supper” of 1863. Pitiful, as if diminished, he stands on the road and watches as the guards take away the One Whom he betrayed. At first Ge thought about how to convey the face of Judas, and then decided to show him from the back. Here is what the artist himself said about this: “The face of Judas is not important (...) It is impossible to understand Judas if his crime is not before us, the meaning of which for him is moving away from the Ideal.”
M. Caravaggio. Taking Christ into custody (kissing Judas)
circa 1598, Dublin, National Gallery of Ireland
Christ on trial before Pontius Pilate (“Behold the man”).
The guards arrested Jesus, who was feared by the Old Testament priests and King Herod of Judea, and brought him to trial before Pontius Pilate, the Roman procurator (governor) in Judea. Pontius Pilate talked with Jesus for a long time, and then said that Jesus was not guilty of anything and wanted to let him go. But the high priests raised the people against Jesus and began to demand that he be crucified on a shameful wooden cross along with two thieves. Pontius Pilate said famous phrase: “I am not guilty of the blood of this righteous man” and sent him to be crucified.
Nikolay Ge."What is truth?" Christ and Pilate
Bright sunlight illuminates the figure of the Roman procurator in Jude e e P O ntia Peel A ta. Pilate asks questions of Jesus. Christ, exhausted by torture, stands with his hands tied against the wall - the artist raises the historical theme of the lack of rights of the people before the authorities. The color of the picture is based on the contrast of dark and bright spots. The unpleasant figure of the judge, Pontius Pilate, is highlighted in bright colors, but all the sympathies of the audience are on the side of the suffering, but not broken Jesus. The artist emphasizes the superiority of the rejected individual over the authorities (the theme of people and power, relevant for the end of the 19th century).
However, the Bible tells the story of the trial of Jesus Christ differently. According to the Gospel of John, it was Pontius Pilate who recognized the innocence of Jesus Christ at the trial, calling Him not the self-proclaimed king of the Jews and not a man who considers himself God, as He was accused of, but simply a man. At the trial, Pontius Pilate uttered the famous phrase: “ This man » - « This is a man" ("Here is a man" ), in Latin - Ecce Homo. It was with these words that the procurator of Judea, Pontius Pilate, showed the people of Jerusalem Jesus Christ, weak and beaten, dressed in scarlet and crowned with a crown of thorns (crown of suffering), wanting to arouse the compassion of the crowd for him.
On this day, Good Friday, Jesus Christ was crucified.
In world art, this biblical story is being actively developed, where it was important to show the suffering of Jesus Christ as a person. In particular, in Caravaggio’s painting, which is called “Behold the Man.”
« This is the man" Caravaggio , OK. 1605, Palazzo Rosso , Genoa
Jesus is depicted suffering, wearing a crown of thorns, digging into his skin with thorns, bloodied after scourging, in his hands a scepter (here a cane stick), on his shoulders a purple robe (royal symbols). The scene features Pontius Pilate pointing to Jesus Christ and saying the phrase “Behold the man.” His hands are folded like a cross, tied with rope. The expression of Christ's face was a problem for artists - they sought to convey his clinging to his enemies (in the Early Renaissance he could cry). Caravaggio shows His resignation to fate, loneliness, suffering, but also strength of will.
Caravaggio. Kiss of Judas. 1602 National Gallery of Ireland, Dublin.
"Kiss of Judas" Moonlight snatches several figures from the darkness. Faces. Hands. Black armor. Christ retreated under the pressure of the crowd. Judas will kiss him now. Thus giving a sign to the guards that he is the one. One guard had already touched Jesus' chest. There was a second left before his arrest. For now, pause.
At first glance, the painting is typical of Caravaggio. It’s easy to understand all the artist’s innovations. However, this work contains one unusual message. We will try to decipher it.
Tenebroso, realism and something else
If you have not seen a single painting by Caravaggio before, then you will be able to understand all its features from “The Kiss of Judas” alone. This is his classic.
Tenebroso
Caravaggio used the tenebroso method very talentedly. When the background is completely dark. And only dim light sculpts the figures.
In the painting “The Kiss of Judas” the tenebroso method is especially appropriate. After all, Christ is arrested in the Garden of Gethsemane at night. And only the moon could illuminate this dramatic event.
Realism
The image is extremely realistic. Even in the twilight we see the dirt under the heroes’ nails. We see every wrinkle. The characters' gestures and facial expressions are very believable. Like, for example, St. John. Who screams, realizing the tragedy of what is happening.
How did Caravaggio achieve such realism? He used a camera obscura. He asked the sitters to take the necessary poses. The image was projected onto the canvas. Then the artist quickly outlined the outlines of the figures. This is how the characters’ poses turned out to be lifelike.
Caravaggio never created preliminary drawings. He worked only from life. This also helped him create vivid images. Some artists, by abusing excessive preparation, can turn a dynamic plot into a dry narrative.
Approximation
Caravaggio brings us as close as possible to what is happening. As a result, only five figures “fit” into the frame. He didn't even pretend to be St. Peter. Although before Caravaggio it was always included in the plot. Showing how he rushes to protect the teacher in a fit of anger. Yes, he only cuts off the ear of one unfortunate person from the crowd.
. 1303-1305 Fresco in the Scrovegni Chapel in Padua, Italy. wga.hu An unusual message from Caravaggio
There is one unusual moment in the film. Look, there is a man standing on the right with a lantern in his hands. He peers at what is happening with interest.
Caravaggio. Kiss of Judas. Fragment. 1602 National Gallery of Ireland, Dublin. wga.hu He is not an apostle. And not a guard. Who is he?
This is Caravaggio himself.
Why did Caravaggio paint himself?
Is this narcissism? The desire to immortalize yourself?
Most likely, the reason is different. This is his message to all of us. And to decipher it, you need to delve a little deeper into biblical story.
And this plot is about treacherous betrayal. A student betrays his teacher for 30 pieces of silver. It would seem that the plot is tragic, but simple. The self-interested villain betrayed the good and meek Jesus.
But the roots of his betrayal go deeper. Judas saw Jesus as the savior of his people. He imagined how he would carry out a coup. Sit on the royal throne. And he will give the main roles to his closest associates. Him too.
Yes, Judas was vain. For the sake of a high post, he was ready to endure ascetic image life. To later become a court minister. No less.
But Jesus did not behave as Judas expected. He did not fight for power in the usual ways. He won the hearts of people with his wisdom, generosity and willingness to sacrifice.
Judas did not expect this. His ambitious plans collapsed. And a small price to pay for the extradition of Christ is an opportunity to take out the anger for your unfulfilled hopes.
So this is not some scary villain that he is often portrayed as. He is rather a pathetic, petty person. Who is ready to immediately turn away from his teacher, friend. Realizing that this connection does not promise him anything. This is his main tragedy. And such tragedies are all too common at all times. And in our time.
This is why Caravaggio portrayed himself as an observer. He peers into what is happening. As if asking yourself the question “What about me? Am I betraying Christ?
It is as if he is calling to us. Warns. Like, be careful. Ask yourself more often question“Am I betraying Christ?”
And everyone will already have their own Christ. Moral principles. Family. Purpose. Conscience…
Interesting fact. Another “Kiss of Judas”
Caravaggio's paintings were often copied. “The Kiss of Judas” also has a copy. It is kept in the Odessa Museum of Oriental and Western Art.
Of course, I will show it to you here. But this doesn't make much sense. They are difficult to distinguish from each other. Everything was copied down to the smallest detail.
Follower of Caravaggio. Kiss of Judas. 1602 Museum of Eastern and Western Art, Odessa. museum.odessa.ua Don't pay attention to lighting and colors. Still, the pictures are taken from different sources.
No. However, they differ in one detail.
Take a closer look at the faces of the characters in both paintings.
On Odessa picture the skin has a waxy appearance. In Dublin, she is more natural-like.
But still both pictures are very similar. Therefore, at one time the Odessa copy was considered the author’s. There is even a legend about how it appeared.
Caravaggio wrote the Dublin Kiss of Judas for his patron Chiriaco Mattei. Art connoisseurs admired the painting. Which Kiriako’s brother was very jealous of. In order to please him, Caravaggio wrote an original copy for him.
The copy was actually written for the customer's brother. According to his ledger. But most likely it was not Caravaggio who did it. By that time he was no longer in Rome. He ran away from there after.
PS.
By the way, the Odessa “Kiss of Judas” was stolen from the museum in 2008. The painting was returned in 2010. Using a straw buyer. The canvas was badly damaged by thieves. It is still under restoration.