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 Portrait of a Courtesan fg oil


Portrait of a Courtesan fg
Painting ID::  5740 		Portrait of a Courtesan fg
c. 1598 Oil on canvas, 66 x 53 cm Formerly Kaiser-Friedrich-Museum, Berlin
   
   
     
Caravaggio Taking of Christ g oil


Taking of Christ g
Painting ID::  5741 		Taking of Christ g
c. 1598 Oil on canvas, 133,5 x 169,5 cm National Gallery of Ireland, Dublin
   
   
     
Caravaggio The Taking of Christ dssd oil


The Taking of Christ dssd
Painting ID::  5742 		The Taking of Christ dssd
c. 1598 Oil on canvas, 133 x 171 cm Museum of Western European and Oriental Art, Odessa
   
   
     
Caravaggio Medusa gg oil


Medusa gg
Painting ID::  5743 		Medusa gg
1598-99 Oil on canvas mounted on wood, 60 x 55 cm Galleria degli Uffizi, Florence
   
   
     
Caravaggio Portrait of Maffeo Barberini kk oil


Portrait of Maffeo Barberini kk
Painting ID::  5745 		Portrait of Maffeo Barberini kk
1599 Oil on canvas, 124 x 99 cm Private collection, Florence
   
   
     
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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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