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Caravaggio
The Beheanding of tst john the baptist
mk96
1608
316x520cm
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Caravaggio
Head of the Medusa
mk98
c.1596-1598
Oil on a shield covered with leater
60x55cm
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Caravaggio
The Madonna of the rosary
mk150
Canvas
36.4x249cm
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Caravaggio
David with the head of Goliath
mk150
c.1606
Panel
90.5x116cm
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Caravaggio
Bacchus
mk156
c.1596
Oil on canvas
95x85cm
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Caravaggio
The Supper at Emmaus
mk156
1601
Oil and egg tempera on canvas
141x196.2cm
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Caravaggio
Boy with a Basket of Fruit
mk156
c.1595
Oil on canvas
70x67cm
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Caravaggio
The Fortune-Teller
mk156
c.1594
Oil on canvas
99x131cm
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Caravaggio
The Death of the Virgin
mk156
1601-1605/06
Oil on canvas
369x245cm
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Caravaggio
The Lute Player
mk159
c.1595
Oil on canvas
94x119cm
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Caravaggio
The Musicians
mk161
Oil on canvas
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Caravaggio
The Virgin of the Grooms
mk166
1602-1603 Painting al I Wave 292x211cm Galeria Borghese Rome
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Caravaggio
The conversion of St. Paul
MK169
ca.1601.Doek 230x175cm S. Maria divide Popolo Rome
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Caravaggio
Boy Bitten by a Lizard
mk170
1595-1600
Oil on canvas
66x49.5cm
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Caravaggio
Salome Receives the Head of Saint John the Baptist
mk170
1607-1610
Oil and egg on canvas
91.5x106.7cm
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Caravaggio
The Supper at Emmaus
mk170
1601
Oil and egg on canvas
141x196.2cm
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Caravaggio
Detail of The Supper at Emmaus
mk170
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Caravaggio
St. John the Baptist
c. 1604
Oil on canvas, 172,5 x 104,5 cm
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Caravaggio
Madonna di Loreto
1603-05
Oil on canvas,
260 x 150 cm
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Caravaggio
St Jerome
c. 1606
Oil on canvas,
112 x 157 cm
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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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