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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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The Fortune Teller by Caravaggio.
c. 1594
Medium oil on canvas
cjr
Painting ID:: 92641
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The_Fortune_Teller_by_Caravaggio.
c. 1594
Medium oil on canvas
cjr
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David and Goliath
1599
Type Oil on canvas
Dimensions 110 cm x 91 cm (43 in x 36 in)
cyf
Painting ID:: 94789
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David_and_Goliath
1599
Type Oil on canvas
Dimensions 110 cm x 91 cm (43 in x 36 in)
cyf
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Conversion of Saint Paul
1600/1601
Type Oil on cypress wood
Dimensions 237 cm x 189 cm (93 in x 74 in)
cyf
Painting ID:: 94791
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Conversion_of_Saint_Paul
1600/1601
Type Oil on cypress wood
Dimensions 237 cm x 189 cm (93 in x 74 in)
cyf
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Saint Matthew and the Angel
1602
Type Oil on canvas
Dimensions 295 cm x 195 cm (116 in x 77 in)
cyf
Painting ID:: 94792
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Saint_Matthew_and_the_Angel
1602
Type Oil on canvas
Dimensions 295 cm x 195 cm (116 in x 77 in)
cyf
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Ecce Homo
1605
Type Oil on canvas
Dimensions 128 cm x 103 cm (50 in x 41 in)
cyf
Painting ID:: 94793
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Ecce_Homo
1605
Type Oil on canvas
Dimensions 128 cm x 103 cm (50 in x 41 in)
cyf
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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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