All Caravaggio Oil Paintings

Italian Baroque Era Painter, ca.1571-1610 Italian painter. After an early career as a painter of portraits, still-life and genre scenes he became the most persuasive religious painter of his time. His bold, naturalistic style, which emphasized the common humanity of the apostles and martyrs, flattered the aspirations of the Counter-Reformation Church, while his vivid chiaroscuro enhanced both three-dimensionality and drama, as well as evoking the mystery of the faith. He followed a militantly realist agenda, rejecting both Mannerism and the classicizing naturalism of his main rival, Annibale Carracci. In the first 30 years of the 17th century his naturalistic ambitions and revolutionary artistic procedures attracted a large following from all over Europe.
 

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Caravaggio The Fortune Teller oil on canvas


The Fortune Teller
The Fortune Teller
Painting ID::  323
  1594-95 Musee du Louvre, Paris
  1594-95 Musee du Louvre, Paris

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Caravaggio The Sacrifice of Isaac_2 oil on canvas


The Sacrifice of Isaac_2
The Sacrifice of Isaac_2
Painting ID::  324
  1603 Galleria degli Uffizi, Florence
  1603 Galleria degli Uffizi, Florence

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Caravaggio The Concert  The Musicians oil on canvas


The Concert The Musicians
The Concert The Musicians
Painting ID::  325
  1595 Metropolitan Museum of Art, New York
  1595 Metropolitan Museum of Art, New York

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Caravaggio Lute Player5 oil on canvas


Lute Player5
Lute Player5
Painting ID::  326
  1595 The Hermitage, St.Petersburg
  1595 The Hermitage, St.Petersburg

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Caravaggio St.Francis in Ecstasy oil on canvas


St.Francis in Ecstasy
St.Francis in Ecstasy
Painting ID::  327
  1595 Wadsworth Atheneum, Hartford, Connecticut
  1595 Wadsworth Atheneum, Hartford, Connecticut

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     Caravaggio
     Italian Baroque Era Painter, ca.1571-1610 Italian painter. After an early career as a painter of portraits, still-life and genre scenes he became the most persuasive religious painter of his time. His bold, naturalistic style, which emphasized the common humanity of the apostles and martyrs, flattered the aspirations of the Counter-Reformation Church, while his vivid chiaroscuro enhanced both three-dimensionality and drama, as well as evoking the mystery of the faith. He followed a militantly realist agenda, rejecting both Mannerism and the classicizing naturalism of his main rival, Annibale Carracci. In the first 30 years of the 17th century his naturalistic ambitions and revolutionary artistic procedures attracted a large following from all over Europe.

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