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 Madonna with the Serpent oil


Madonna with the Serpent
Painting ID::  5782
Madonna with the Serpent
1606 Oil on canvas, 292 x 211 cm Galleria Borghese, Rome
1606 Oil_on_canvas,_292_x_211_cm Galleria_Borghese,_Rome
   
   
     

Caravaggio Madonna Palafrenieri (detail) f oil


Madonna Palafrenieri (detail) f
Painting ID::  5783
Madonna Palafrenieri (detail) f
1606 Oil on canvas, width of detail: 47 cm Galleria Borghese, Rome
   
   
     

Caravaggio St Francis dfgd oil


St Francis dfgd
Painting ID::  5784
St Francis dfgd
c. 1606 Oil on canvas, 125 x 93 cm Galleria Nazionale d'Arte Antica, Rome
   
   
     

Caravaggio St Francis g oil


St Francis g
Painting ID::  5785
St Francis g
c. 1606 Oil on canvas, 130 x 190 cm Pinacoteca, Cremona
c._1606 Oil_on_canvas,_130_x_190_cm Pinacoteca,_Cremona
   
   
     

Caravaggio David fghfg oil


David fghfg
Painting ID::  5786
David fghfg
1606-07 Oil on wood, 90,5 x 116 cm Kunsthistorisches Museum, Vienna
   
   
     

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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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