This paper is a commentary on the Derek Jarman's film, "Caravaggio", emphasizing the model-artist relationship in the movie and the artistic expression with which Jarman displays Michele Caravaggio himself.
From the paper:
"Jarman's Caravaggio is a rare commentary on the life of Michele Caravaggio, one ravished by misfortune and sorrow but nonetheless embraced and exalted today as a crucial moment in the defining of art. This film not only promotes the efforts and exploits of Caravaggio, but also delves into the realm of the artist as a human, not merely the means through which art is accomplished. Jarman takes special effort to integrate the relation of Caravaggio to his peers and friends while smoothly throwing artistic practice into the mix with a natural fluidity that almost necessitates the replacement of the word "practice" with ?being'."
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