卡拉瓦乔
腳註

↑  Carminati, Marco. . 25 February 2007  [28 July 2016]. （原始内容存档于2019-06-20） （意大利语）.
↑  Abweichende Angaben über Geburtsdatum und Geburtsort sind nach der 2007 aufgefundenen Taufurkunde nicht mehr haltbar. S. Sybille Ebert-Schifferer: Caravaggio. Sehen – Staunen – Glauben. Der Maler und sein Werk. Beck, München 2009, S. 269 und 273 (Fn 1).（德语）
↑  Vincenzio Fanti. . Trattner. 1767: 21  [2015-02-10]. （原始内容存档于2020-07-27） （意大利语）.
↑  . Gettyimages.it.   [2013-07-20]. （原始内容存档于2020-09-18）.
↑  . Getty.edu.   [2012-11-18]. （原始内容存档于2020-10-29）.
↑  Watkins, Ally. . Artinfo. 2011-02-24  [2012-11-18]. （原始内容存档于2020-11-03）.
↑  Quoted in Gilles Lambert, "Caravaggio", p.8.
↑  . Italica.rai.it.   [2012-11-18]. （原始内容存档于2009-04-16）.
↑  David Stedman. . books.google.com. 2009: 183, 447. ISBN 978-1848761315.
↑  . parisartstudies.com. 2009  [2015-02-20]. （原始内容存档于2020-11-06）.
↑  Rosa Giorgi, "Caravaggio: Master of light and dark – his life in paintings", p.12.
↑  Giovanni Pietro Bellori, Le Vite de' pittori, scultori, et architetti moderni, 1672: "Michele was forced by necessity to enter the services of Cavalier Giuseppe d'Arpino, by whom he was employed to paint flowers and fruits so realistically that they began to attain the higher beauty that we love so much today."
↑  Robb, p.79. Robb is drawing on Bellori, who praises Caravaggio's "true" colours but finds the naturalism offensive: "He (Caravaggio) was satisfied with [the] invention of nature without further exercising his brain."
↑  Bellori. The passage continues: "[The younger painters] outdid each other in copying him, undressing their models and raising their lights; and rather than setting out to learn from study and instruction, each readily found in the streets or squares of Rome both masters and models for copying nature."
↑  Quoted without attribution in Lambert, p.66.
↑  Baglione: "For the [church of] Madonna della Scala in Trastevere he painted the death of the Madonna, but because he had portrayed the Madonna with little decorum, swollen and with bare legs, it was taken away, and the Duke of Mantua bought it and placed it in his most noble gallery."
↑  In 1606, following the death of Tomassoni, he fled first to the Colonna estates south of Rome, then on to Naples where Costanza Colonna Sforza, widow of Francesco Sforza, in whose husband's household Caravaggio's father had held a position, maintained a palace. Costanza's brother Ascanio was Cardinal-Protector of the Kingdom of Naples, another brother, Marzio, was an advisor to the Spanish Viceroy, and a sister was married into the important Neapolitan Carafa family—connections which might help explain the cornucopia of major commissions which fell into Caravaggio's lap in that city. Costanza's son Fabrizio Sforza Colonna, Knight of Malta and general of the Order's galleys, appears to have facilitated his arrival in the island in 1607 and his escape the next year, and he stayed in Costanza's Neapolitan palazzo on his return there in 1609. These connections are treated in most biographies and studies—see, for example, Catherine Puglisi, "Caravaggio", p.258, for a brief outline. Helen Langdon, "Caravaggio: A Life", ch.12 and 15, and Peter Robb, "M", pp.398ff and 459ff, give a fuller account.
↑  According to a 17th-century writer the painting the head of Goliath is a self-portrait of the artist, while David is il suo Caravaggino, "his little Caravaggio". This phrase is obscure, but it has been interpreted as meaning either that the boy is a youthful self-portrait, or, more commonly, that this is the Cecco who modelled for the Amor Vincit. The sword-blade carries an abbreviated inscription which has been interpreted as meaning Humility Conquers Pride. Attributed to a date in Caravaggio's late Roman period by Bellori, the recent tendency is to see it as a product on Caravaggio's second Neapolitan period. (See Gash, p.125).
↑  A letter from the Bishop of Caserta in Naples to Cardinal Scipione Borghese in Rome, dated 29 July 1610, informs the Cardinal that the Marchesa of Caravaggio is holding two John the Baptists and a Magdalene which were intended for Borghese. These were presumably the price of Caravaggio's pardon from Borghese's uncle, the pope.
↑  Lambert, p.11.
↑  Much of the documentary evidence for Caravaggio's life in Rome comes from court records; the "artichoke" case refers to an occasion when the artist threw a dish of hot artichokes at a waiter.
↑  Caravaggio's self-portraits run from the Sick Bacchus at the beginning of his career to the head of Goliath in the David with the Head of Goliath in Rome's Borghese Gallery. Previous artists had included self-portraits as onlookers to the action, but Caravaggio's innovation was to include himself as a participant.
↑  Roberto Longhi, quoted in Lambert, op. cit., p.15
↑  Bernard Berenson, in Lambert, op. cit., p.8