The article discusses the influence of Caravaggio in the series, highlighting the connection between the killer and victim portrayed in the paintings. It also explores the reimagining of the 1955 page-turner as a series.
Tom Ripley drifts toward the painting. “ Caravaggio links the killer and victim,” the docent explains, in Italian, “by portraying David as compassionate, even loving, in the way he gazes at the severed head of Goliath. And he made this bond even stronger by using himself as the model for both. Both are Caravaggio ’s face.” Highsmith never so much as mentions the artist’s name.
But this moment, which takes place midway through the gorgeously realized yet torpid, ultimately a bit vapid eight-part drama, is neither the first nor the last time Caravaggio comes up in, now streaming on Netflix. A Baroque master equally famous for portraiture whose chiaroscuro illuminates his often-biblical subjects’ emotions and for killing a man in a Roman street fight, the painter becomes a sort of double for Tom—a tricky character played with dynamism and restraint by Andrew Scott. The series seizes on the book’s obsession with aesthetics, reimagining the 1955 page-turner as
Caravaggio Painting Series Influence Aesthetics
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