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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Caravaggio Basket of Fruit df oil


Basket of Fruit df
Painting ID::  5735
Basket of Fruit df
c. 1597 Oil on canvas, 31 x 47 cm Pinacoteca Ambrosiana, Milan
   
   
     

Caravaggio St Catherine of Alexandria fdf oil


St Catherine of Alexandria fdf
Painting ID::  5736
St Catherine of Alexandria fdf
c. 1598 Oil on canvas, 173 x 133 cm Thyssen-Bornemisza Collection, Madrid
   
   
     

Caravaggio Martha and Mary Magdalene gg oil


Martha and Mary Magdalene gg
Painting ID::  5737
Martha and Mary Magdalene gg
c. 1598 Oil on canvas, 97,8 x 132,7 cm Institute of Arts, Detroit
   
   
     

Caravaggio Judith Beheading Holofernes (detail) gf oil


Judith Beheading Holofernes (detail) gf
Painting ID::  5738
Judith Beheading Holofernes (detail) gf
c. 1598 Oil on canvas Galleria Nazionale d'Arte Antica, Rome
   
   
     

Caravaggio Judith Beheading Holofernes (detail) vc oil


Judith Beheading Holofernes (detail) vc
Painting ID::  5739
Judith Beheading Holofernes (detail) vc
c. 1598 Oil on canvas Galleria Nazionale d'Arte Antica, Rome
   
   
     

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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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