An artwork on Galleree from Minneapolis Institute of Art.
About the artwork
The Archangel Michaelca. 1624-1626
Artist: Cavaliere d'Arpino
Italian (Rome), 1568 - 1640
standing winged male figure with long curly blonde hair, looking up toward ULC; sword in upraised PR hand--blade out of picture plane; blue breastplate; red cape; blue sandals with white cloth, gilt straps and red gems; figure stands on writhing, muscular nude male figure with brown hair and long fingers and fingernails
96 1/4 × 66 7/8 in. (244.48 × 169.86 cm) (sight, approx.)
110 1/4 × 78 3/4 in. (280.04 × 200.03 cm) (outer frame, approx.)
Oil on canvas
Painting
Italy
17th century
Gift of funds from Elizabeth and Whitney MacMillan in honor of Patrick Noon and his curatorial contributions to the Minneapolis Institute of Art
In the heart of Rome, beneath soaring domes and ancient whispers, a young prodigy named Maffeo Barberini rose to power. It was 1623 when he took on the mantle of Urban VIII, a name that would resonate through the ages. Yet, in the shadows of his nascent reign loomed a figure whose artistry had graced the walls of the Vatican for over forty years — Cavaliere d’Arpino. This dedicated painter had first ventured into the grandeur of Rome at just fifteen, his brush painting the dreams and aspirations of popes long before the new pope donned the papal robes.
But even as Urban VIII ascended the papacy, Arpino found himself overlooked, his skillful hands repeatedly passed over for altarpiece commissions in the resplendent St. Peter’s Basilica. One could envision the frustration bubbling within him, each unchosen proposal a stark reminder of the elusive crown he sought in the form of recognition.
In this delicate dance of ambition and artistry, a magnificent painting emerged — one that might have served as a bridge to the pope's favor. It depicted the Archangel Michael, a towering figure against the backdrop of the heavens, victorious over the dark tendrils of Lucifer. Amidst the twilight of his career, Arpino infused this celestial being with life, bestowing upon him the strength and elegance that spoke of resilience and purpose. Michael stood victorious, his bejeweled foot firmly planted on the defeated foe, a powerful symbol meant to echo the very core of Urban’s identity.
For Urban VIII saw a reflection of himself within Michael — not just a protector of the faith, but a stalwart defender against the looming challenges of the Counter-Reformation. The Archangel became an emblem for the newly minted pope, surfacing in the design of coins, the moments of coronation, and lofty discussions within the Barberini palace.
Two weeks after delivering the striking canvas to the family residence, Arpino's fortunes began to change. The tides shifted, and he finally secured a commission for St. Peter’s Basilica: a grand mosaic altarpiece once again showcasing the fierce Archangel locking in battle against Lucifer, reaffirming his status among the Vatican’s great creators.
This vibrant story of aspiration and artistry didn’t end there. The painting found refuge in the tranquil confines of the Barberini palace, where it remained until 1934, a silent witness to centuries of change. Even today, its legacy hums through time, embraced by the descendants of popes, whispering tales of divine inspiration and the elusive nature of recognition in the world of art. In every brushstroke of the painting, the spirit of Cavaliere d’Arpino lives on, echoing the ambitions of a human heart forever entwined with the brilliance of the divine.
About the artist
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