[attach id=208621 size="medium"]Boys with masks.[/attach]

Meandering in the rooms around the architecturally significant internal courtyard of the Inquisitor’s Palace in Vittoriosa, first built by the Knights in the early 16th century, as their Castellania or Court of Laws, you are currently in for an added treat.

This exhibition has its good points, but it could have been better had it not been connected to Caravaggio- Charlene Vella

The courtyard owes its importance as one of the earliest examples of the late Gothic architecture brought by the Knights from Rhodes, which Prof. Mario Buhagiar believes to be the work of the Rhodiot architect, Niccolo Flavari. It is the oldest nucleus of the palace.

The added interest are the 17 paintings by the Hungarian Tamás Cserna (b. 1967, Budapest) that are displayed on boards in a number of the surrounding rooms.

The large oil on canvas paintings immediately attract attention for their sense of realism, which is what one expects when one reads the exhibition title: In the Wake of Caravaggio.

What also comes to mind with such a title that is so closely linked to the great master of verismo is drama and harsh contrasts of light and dark – the chiaroscuro of Michelangelo Merisi da Caravaggio (1571-1610).

Cserna’s fascination with Caravaggio is evident not only in the choice of title, but also in the choice of venue, for Caravaggio roamed not only the streets of Vittoriosa when in Malta, but was also summoned to the Inquisitor’s Court as a witness on July 26, 1607.

Despite such good intentions, there are shortcomings, such as the romantic twist Cserna gives his paintings and their interpretation.

But as Augusten Burroughs puts it: “I myself am entirely made of flaws, stitched together with good intentions.” Flaws can be charming too.

The truth of the matter is that there are only very superficial links with the great master. This is Cserna’s realism.

Caravaggio’s chiaroscuro and drama have not been exploited. Yet there is subdued drama in some of the canvases.

Given the exhibition title, one assumes that Cserna wants to follow in Caravaggio’s artistic legacy, as many before him have already done. But does he really want to feel like Caravaggio, this controversial and intriguing genius of an artist who has mesmerised centuries of art historians and art lovers?

It is, of course, an honour for an artist to have his work copied or used as the main source of inspiration by another artist and future artists at that.

I am, nonetheless, sure that Caravaggio was turning somersaults in his grave by some of the (re)interpretations of his works.

Most of us have had enough of these over-romanticised revisitings of the great master.

In spite of the hype about the artist, there are misconceptions about him, such as the local advert referring to him as “a great Renaissance master”. Caravaggio is, of course, Baroque not Renaissance.

Let us focus on some of the exhibits. The second painting one comes across merits attention: a good rendition of a curled up Eve, distraught by having eaten the apple that lies in the foreground of the painting.

The study of the figure is good, as is that of Adam, who is reminiscent of the Belvedere Torso. Technique and execution are likewise good.

Cserna’s series of paintings are undeniably beautiful and the technique accomplished.

The exhibits include still-life works, reclining nudes and other figures, and a series of Pietàs and Depositions which are, at times, theatrical.

What is rather disturbing is that a large number of Cserna’s figures are either covering their faces with their hair, drapery or other props, or are turned away from the viewer. Bacchus is a rare instance which shows the facial features of the young wine god, albeit sketchy and in extreme sfumato. Other paintings merely hint at the face. Caravaggio’s figures’ faces are, on the other hand, so crisp, so clear.

Nonetheless, this exhibition has its good points, but it could have been better had it not been connected to Caravaggio.

Cserna’s In the wake of Caravaggio is open until October 31 at the Inquisitor’s Palace, Vittoriosa.