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::  40403
The Supper at Emmaus
mk156 1601 Oil and egg tempera on canvas 141x196.2cm
mk156 1601 Oil_and_egg_tempera_on_canvas 141x196.2cm
   
   
     

Caravaggio Boy with a Basket of Fruit oil


Boy with a Basket of Fruit
Painting ID::  40404
Boy with a Basket of Fruit
mk156 c.1595 Oil on canvas 70x67cm
mk156 c.1595 Oil_on_canvas 70x67cm
   
   
     

Caravaggio The Fortune-Teller oil


The Fortune-Teller
Painting ID::  40405
The Fortune-Teller
mk156 c.1594 Oil on canvas 99x131cm
mk156 c.1594 Oil_on_canvas 99x131cm
   
   
     

Caravaggio The Death of the Virgin oil


The Death of the Virgin
Painting ID::  40407
The Death of the Virgin
mk156 1601-1605/06 Oil on canvas 369x245cm
mk156 1601-1605/06 Oil_on_canvas 369x245cm
   
   
     

Caravaggio The Lute Player oil


The Lute Player
Painting ID::  41001
The Lute Player
mk159 c.1595 Oil on canvas 94x119cm
mk159 c.1595 Oil_on_canvas 94x119cm
   
   
     

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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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