Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 105. (Budapest, 2006)

ANNUAL REPORT - A 2006. ÉV - VILMOS TÁTRAI: The Triumphant, the Defeated and The Victim: Caravaggio's David with the Head of Goliath

showed how the ecstatic imagination of the painter transferred the tragedy of Cain and Abel onto the surrounding scenery. The framework of violence was broadened further by including the Flemish Roelant Savery's allegoric tale, the Lions Striking a Cow, Charles Lebrun's allegoric composition of the Roi Soleil triumphing over sins and his enemies, and the fiery colours of the Apocalyse by Giuseppe Maria Crespi, a genius of the rank of Caravaggio. An early copy of Caravaggio's The Taking of Christ fits well into this context and is related to the centrepiece, because the two themes are depicted together in it, since in Christ a triumphant figure and a victim were united. In addition to the usual captions referring to details of Caravaggio's life, his art and the iconography of the paintings, this time each work on display received a short description, the aim of which was to highlight the essential characteristics of each painting and drawing. The interior designers, Mariann Derencsér and the team from NARMER Architectural Studio painted the walls black and illuminated the artworks with spotlights; the photograph of Goliath's head dripping with blood was illuminated from behind, creating a playfully spooky rather than gruesome atmosphere, while to underline the position of the central Caravaggio the work was placed into an area within the space formation. 21 CARAVAGGIO. DAVID WITH THE HEAD OF GOLIATH. ROME. GALLERIA BORGHESE Vilmos Tátrai