Caravaggio, cursed genius, extraordinary painter, vile assassin on the run. We are in May 1610 and Michelangelo Merisi da Caravaggio is in Naples. He is working on what will be his last masterpiece before dying two months later under mysterious circumstances. A powerful work, a moment perfectly framed and illuminated by dramatic lights, the black background where real models animate the painting and tell the story of a sacrifice. The scene is that of The Martyrdom of Saint Ursula, a painting that arrives in London after 20 years from the Gallerie d'Italia in Naples and which will be compared with another masterpiece from the Tate collections, the famous and dramatic Salome with the head of John the Baptist (about 1609-1610) together with the precious letter describing the creation of the work from the State Archives of Naples.
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