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 Supper at Emmaus oil


The Supper at Emmaus
Painting ID::  43082 		The Supper at Emmaus
mk170 1601 Oil and egg on canvas 141x196.2cm
mk170 1601 Oil_and_egg_on_canvas 141x196.2cm
   
   
     
Caravaggio Detail of The Supper at Emmaus oil


Detail of The Supper at Emmaus
Painting ID::  43084 		Detail of The Supper at Emmaus
mk170
mk170
   
   
     
Caravaggio St. John the Baptist oil


St. John the Baptist
Painting ID::  43834 		St. John the Baptist
c. 1604 Oil on canvas, 172,5 x 104,5 cm
c._1604_ Oil_on_canvas,_172,5_x_104,5_cm
   
   
     
Caravaggio Madonna di Loreto oil


Madonna di Loreto
Painting ID::  43835 		Madonna di Loreto
1603-05 Oil on canvas, 260 x 150 cm
1603-05_ Oil_on_canvas,_ 260_x_150_cm
   
   
     
Caravaggio St Jerome oil


St Jerome
Painting ID::  43836 		St Jerome
c. 1606 Oil on canvas, 112 x 157 cm
c._1606_ Oil_on_canvas,_ 112_x_157_cm
   
   
     
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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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