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 The Seven Acts of Mercy oil


The Seven Acts of Mercy
Painting ID::  5787
The Seven Acts of Mercy
1607 Oil on canvas, 390 x 260 cm Church of Pio Monte della Misericordia, Naples
   
   
     

Caravaggio The Seven Acts of Mercy (detail) dfg oil


The Seven Acts of Mercy (detail) dfg
Painting ID::  5788
The Seven Acts of Mercy (detail) dfg
1607 Oil on canvas, width of detail: 70 cm Church of Pio Monte della Misericordia, Naples
   
   
     

Caravaggio The Crucifixion of St Andrew dfg oil


The Crucifixion of St Andrew dfg
Painting ID::  5789
The Crucifixion of St Andrew dfg
c. 1607 Oil on canvas, 202,5 x 152,7 cm Museum of Art, Cleveland
   
   
     

Caravaggio Flagellation  dgh oil


Flagellation dgh
Painting ID::  5790
Flagellation dgh
c. 1607 Oil on canvas, 390 x 260 cm Museo Nazionale di Capodimonte, Naples (loan)
   
   
     

Caravaggio Christ at the Column fdg oil


Christ at the Column fdg
Painting ID::  5791
Christ at the Column fdg
c. 1607 Oil on canvas, 134,5 x 175,5 cm Mus??e des Beaux-Arts, Rouen
   
   
     

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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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