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 St. John the Baptist oil


St. John the Baptist
Painting ID::  5812 		St. John the Baptist
Oil on canvas, 102,5 x 83 cm Öffentliche Kunstsammlung, Basle
   
   
     
Caravaggio The Tooth-Drawer gh oil


The Tooth-Drawer gh
Painting ID::  5813 		The Tooth-Drawer gh
1607-09 Oil on canvas, 139,5 x 194,5 cm Galleria degli Uffizi, Florence
   
   
     
Caravaggio St John the Baptist at the Well ty oil


St John the Baptist at the Well ty
Painting ID::  5814 		St John the Baptist at the Well ty
1607-08 Oil on canvas, 73 x 100 cm Collezione Bonello, Malta
   
   
     
Caravaggio The Sacrifice of Isaac dfg oil


The Sacrifice of Isaac dfg
Painting ID::  5815 		The Sacrifice of Isaac dfg
c. 1605 Oil on canvas, 116 x 173 cm Piasecka-Johnson Collection, Princeton
   
   
     
Caravaggio Jupiter, Neptune and Pluto d oil


Jupiter, Neptune and Pluto d
Painting ID::  5816 		Jupiter, Neptune and Pluto d
1597-1600 Ceiling painting in oil, 300 x 180 cm Casino Boncompagni Ludovisi, 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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