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 Medusa oil


Medusa
Painting ID::  28853
Medusa
mk65 Oil on canvas applied to a poplar-wood shield 23 5/8x21 11/16in Uffizi,Gallery
   
   
     

Caravaggio The Sacrifice of Isaac oil


The Sacrifice of Isaac
Painting ID::  28900
The Sacrifice of Isaac
mk65 Oil on canvas 40 15/16x53 1/8in Uffizi.
mk65 Oil_on_canvas 40_15/16x53_1/8in Uffizi.
   
   
     

Caravaggio The Tooth Puller oil


The Tooth Puller
Painting ID::  29001
The Tooth Puller
mk65 Oil on canvas 54 15/16x76 9/16in Pitti. Pitti,Palatine Gallery
   
   
     

Caravaggio Sleeping Cupid oil


Sleeping Cupid
Painting ID::  29002
Sleeping Cupid
mk65 Oil on canvas 28 3/8x41 5/16in Pitti, Palatine Gallery
   
   
     

Caravaggio Portrait of a Knight of Malta oil


Portrait of a Knight of Malta
Painting ID::  29003
Portrait of a Knight of Malta
mk65 Oil on canvas 46 5/8x76 9/16in Pitti,Royal Apartments
   
   
     

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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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