Carvaggio could be the first MOUSSE artist and played a significant role in the Counter Reformation, an artistic movement that struggled to create a balance to the reformation (and not be crucified). As the church manipulated art and social aesthetic values in propaganda maneuvers. Carvagio managed to make MOUSSE of the most recognized icons. He was a complete faux pas, but he was also such a good painter that it didn’t matter.
We can take as examples, the seductive lips of the Lute Player, his drunken green Baccus or the first things that strike the eye when we come across his work ‘Madonna di Loretto.’ The first thing you see are dirty feet and the ass of a man, Madonna as a whore and peasants as believers, a baby so big he has no business being in his mother’s arms. Carvaggio made MOUSSE by abusing form through mastery of craft and managing to make subversive work without compromising the sincerity of his expression.
He found a way to personalize commissions in a style that was ugly and sweet and undeniable. He sold his creativity and guarded his authenticity with his life. This is essential to making MOUSSE. This is where the honest and emotional are safe from mediated onslaught and illusion. It is an ethical stance towards creating in general and specifically to creating art. The work is not concerned with politics as a subject, the political act is the communication of the work.”
from the new Modart book (more info here)