Seventeenth-century Lombard painting was one of the mainstays of Marco Bona Castellotti’s research, and the “great Lombard”, Michelangelo Merisi, better known as Caravaggio, was his polar star. Castellotti did not limit himself to studying and restudying him but for decades devoted incessant attention to every new fact that emerged about the painter. And he did so in order to be as engaging as possible, that is, by addressing the general readership of the press. The selection of articles presented here, taken from the major Italian newspapers, covers a notable timespan, from the 1980s to the present, in a rereading of almost forty years of Caravaggio criticism, always presented with a passionate gaze, filled with yearning for his artistic and human story. A gaze capable of creating ties and relationships not only between Caravaggio and his followers, but also between Caravaggio and Pasolini, for instance.
