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 Basket of Fruit oil


Basket of Fruit
Painting ID::  33569
Basket of Fruit
mk86 c.1596 Oil on canvas 46x64cm Milan,Biblioteca Ambrosiana
   
   
     

Caravaggio The Fortune Teller oil


The Fortune Teller
Painting ID::  33570
The Fortune Teller
mk86 c.1594/95 Oi on canvas 99x131cm Paris,Musee National du Louvre
   
   
     

Caravaggio The Supper at Emmaus oil


The Supper at Emmaus
Painting ID::  33571
The Supper at Emmaus
mk86 c.1596-1602 Oil on canvas 140x197cm London,National Gallery
   
   
     

Caravaggio Bacchus oil


Bacchus
Painting ID::  33572
Bacchus
mk86 c.1598 Oil on canvas 98x85cm Florence,Galleria degli Uffizi
   
   
     

Caravaggio The Crucifixion of St Peter oil


The Crucifixion of St Peter
Painting ID::  33573
The Crucifixion of St Peter
mk86 1601 Oil on canvas 230x175cm Rome,Santa Maria del Popolo
   
   
     

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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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