was probably exposed too much of the rawness of life. Milan, being a distinguished lawless city, became a catalyst for Caravaggios soon acquired taste for violence, disrespect for authority, and the acquired portrayal of sexuality throughout his work. Much of Caravaggio's work raised questions concerning the content and intellectual processes that he used to formulate his work. Many believed that far more content was concealed within his work than meet the "naked" eye. Caravaggio painted pretty straightforward images that raised questions about the concealed symbolic meaning. This apparent symbolism can be seen in many of his paintings. For example, The Bacchus, Goliath, Sick Bacchus, and Boy with a Basket of Fruit, to name a few. In many of Caravaggios works he offers his audience a head. Many of these heads were believed to be painted with of own features. As seen on the bloody head of Goliath, which David so adversely thrusts out into the viewers space. This not being the sole example, we can see this depiction in Judith with the Head of Holofernes, Depiction of St. John the Baptist, and Salome receiving the head of St. John the Baptist. This use of a self-portrait became a very interesting topic for many researchers and Art historians. The depiction of violence connected to Caravaggio left question to his train of thought and his emotional stability.An even more controversial subject than his violent depicted self-portraits are the "provocative, seducing, erotically soliciting, gazes," that Caravaggio produced. This can be seen prominently in the early Sick Bacchus. Caravaggios head is rested in a provocative pose, which was to be read as a seduction to the viewer. It seems, through investigation, that Caravaggio had become enthralled in the act of painting "come-ons." Although, his intent probably being fallacies, Caravaggio had a magnificent way to hinder a viewers though process, by creating ambiguity. In two of...
