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 Supper of Aaimasi oil


Supper of Aaimasi
Painting ID::  48648
Supper of Aaimasi
mk191 1596-1603 oil on canvas 139x185cm
mk191 1596-1603 oil_on_canvas 139x185cm
   
   
     

Caravaggio Detail of  Supper of Aaimasi oil


Detail of Supper of Aaimasi
Painting ID::  48649
Detail of Supper of Aaimasi
mk191 Oil on canvas
mk191 Oil_on_canvas
   
   
     

Caravaggio Leaning younger in rose bush oil


Leaning younger in rose bush
Painting ID::  48650
Leaning younger in rose bush
mk191 Oil on canvas
mk191 Oil_on_canvas
   
   
     

Caravaggio The Supper at Emmaus oil


The Supper at Emmaus
Painting ID::  50886
The Supper at Emmaus
mk216 The Italian Caravaggio was one of the great rebels of art
   
   
     

Caravaggio Lutspelaren oil


Lutspelaren
Painting ID::  53778
Lutspelaren
mk234 about 1596 94x120cm
mk234_ about_1596_ 94x120cm
   
   
     

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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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