This is one of two John the Baptists painted by Caravaggio in or around 1604 (possibly 1605).
It is held in the Palazzo Corsini collection of the Galleria Nazionale d'Arte Antica.
Like the John done for Ottavio Costa, the figure has been stripped of identifying symbols - no belt, not even the "raiment of camel's hair", and the reed cross is only suggested.
The background and surrounds have darkened even further, and again there is the sense of a story from which the viewer is excluded.

Caravaggio was not the first artist to have treated the Baptist as a cryptic male nude - there were prior examples from Leonardo, Raphael, Andrea del Sarto and others - but he introduced a new note of realism and drama.
His John has the roughened, sunburnt hands and neck of a labourer, his pale torso emerging with a contrast that reminds the viewer that this is a real boy who has gotten undressed for his modelling session - unlike Raphael's Baptist, who is as idealised and un-individualised as one of his winged cherubs.

Ask who this model actually is, (or was), and the realism of the individual spills over as a record of Rome itself in the age of Caravaggio.
Biographer Peter Robb cites Montaigne on Rome as a city of universal idleness, "...the envied idleness of the higher clerics, and the frightening idleness of the destitute...a city almost without trades or professions, in which the churchmen were playboys or bureaucrats, the laymen were condemned to be courtiers, all the pretty girls and boys seemed to be prostitutes, and all wealth was inherited old money or extorted new."
It was not an age which welcomed an art that emphasised the real.
This is one of two John the Baptists painted by Caravaggio in or around 1604 (possibly 1605). It is held in the Palazzo Corsini collection of the Galleria Nazionale d'Arte Antica. Like the John done for Ottavio Costa, the figure has been stripped of identifying symbols - no belt, not even the "raiment of camel's hair", and the reed cross is only suggested. The background and surrounds have darkened even further, and again there is the sense of a story from which the viewer is excluded.
Caravaggio was not the first artist to have treated the Baptist as a cryptic male nude - there were prior examples from Leonardo, Raphael, Andrea del Sarto and others - but he introduced a new note of realism and drama. His John has the roughened, sunburnt hands and neck of a labourer, his pale torso emerging with a contrast that reminds the viewer that this is a real boy who has gotten undressed for his modelling session - unlike Raphael's Baptist, who is as idealised and un-individualised as one of his winged cherubs.
Ask who this model actually is, (or was), and the realism of the individual spills over as a record of Rome itself in the age of Caravaggio. Biographer Peter Robb cites Montaigne on Rome as a city of universal idleness, "...the envied idleness of the higher clerics, and the frightening idleness of the destitute...a city almost without trades or professions, in which the churchmen were playboys or bureaucrats, the laymen were condemned to be courtiers, all the pretty girls and boys seemed to be prostitutes, and all wealth was inherited old money or extorted new." It was not an age which welcomed an art that emphasised the real.
John the Baptist (Caravaggio)