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Caravaggio
Details of Martyrdom of St.Matthew
nn05
Bloodthirsty murder,fear and horror
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Caravaggio
Details of Martyrdom of St.Matthew
nn05
A wild and violent painter
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Caravaggio
Medusa
mk68
1598-1599
Baroque
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Caravaggio
Saint Catherine
mk68
Oil on canvas
5'8"x4'4 1/4"
Madrid,Thyssen-Bornemiszxa Museum
1595-1596
Italy
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Caravaggio
Conversion of Saint Paul
mk67
Oil on canvas
7'6"x5'9"
Rome,Church of Santa
1600-1601
Italy
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Caravaggio
Entombment of Christ
mk68
Oil on canvas
9'10"x6'7"
Vatican
1602-1603
Italy
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Caravaggio
La Mort de la Vierge
mk70
Toile
H.3.69
L.2.45
Paris,Musee du Louvre
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Caravaggio
La Diseuse de bonne aventure
mk70
Toile
H.0.99
L.1.31
Paris,Musee du Louvre
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Caravaggio
Bacchus
mk83
1589-1596
oil on canvas
95x85cm
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Caravaggio
The Young Bacchus
mk86
c.1591-1593
Oil on canva
s66x53cm
Rome
Galleria Borghese
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Caravaggio
Basket of Fruit
mk86
c.1596
Oil on canvas
46x64cm
Milan,Biblioteca Ambrosiana
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Caravaggio
The Fortune Teller
mk86
c.1594/95
Oi on canvas
99x131cm
Paris,Musee National du Louvre
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Caravaggio
The Supper at Emmaus
mk86
c.1596-1602
Oil on canvas
140x197cm
London,National Gallery
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Caravaggio
Bacchus
mk86
c.1598
Oil on canvas
98x85cm
Florence,Galleria degli Uffizi
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Caravaggio
The Crucifixion of St Peter
mk86
1601
Oil on canvas
230x175cm
Rome,Santa Maria del Popolo
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Caravaggio
The Entombment
mk86
c.1602-1604
Oil on canvas
300x203cm
Rome,Musei Vaticani,Pinacoteca Vaticana
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Caravaggio
The Supper at Emmaus
mk96
1601
141x196.2cm
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Caravaggio
The Fortune Teller
mk96
1595
99x131cm
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Caravaggio
Bacchus
mk96
1597
95x85cm
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Caravaggio
the death of the virgin
mk96
1605-1606
369x245cm
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| Caravaggio
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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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