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 St. Francis in Ecstasy oil


St. Francis in Ecstasy
Painting ID::  43844 		St. Francis in Ecstasy
c. 1595 Oil on canvas, 92,5 x 128,4 cm
c._1595_ Oil_on_canvas,_ 92,5_x_128,4_cm
   
   
     
Caravaggio Judith Beheading Holofernes oil


Judith Beheading Holofernes
Painting ID::  43845 		Judith Beheading Holofernes
c. 1598 Oil on canvas, 145 x 195 cm
c._1598_ Oil_on_canvas,_ 145_x_195_cm
   
   
     
Caravaggio St. John the Baptist oil


St. John the Baptist
Painting ID::  43846 		St. John the Baptist
1600 Oil on canvas, 230 x 175 cm
1600_ Oil_on_canvas,_ 230_x_175_cm
   
   
     
Caravaggio The Incredulity of Saint Thomas oil


The Incredulity of Saint Thomas
Painting ID::  43848 		The Incredulity of Saint Thomas
1601-02 Oil on canvas, 107 x 146 cm
1601-02_ Oil_on_canvas,_ 107_x_146_cm
   
   
     
Caravaggio The Crowning with Thorns oil


The Crowning with Thorns
Painting ID::  43849 		The Crowning with Thorns
Oil on canvas, 178 x 125 cm
Oil_on_canvas,_ 178_x_125_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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