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 The Fortune Teller oil


The Fortune Teller
Painting ID::  323 		The Fortune Teller
1594-95 Musee du Louvre, Paris
1594-95_ Musee_du_Louvre,_Paris
   
   
     
Caravaggio The Sacrifice of Isaac_2 oil


The Sacrifice of Isaac_2
Painting ID::  324 		The Sacrifice of Isaac_2
1603 Galleria degli Uffizi, Florence
1603_ Galleria_degli_Uffizi,_Florence
   
   
     
Caravaggio The Concert The Musicians oil


The Concert The Musicians
Painting ID::  325 		The Concert The Musicians
1595 Metropolitan Museum of Art, New York
1595_ Metropolitan_Museum_of_Art,_New_York
   
   
     
Caravaggio Lute Player5 oil


Lute Player5
Painting ID::  326 		Lute Player5
1595 The Hermitage, St.Petersburg
1595_ The_Hermitage,_St.Petersburg
   
   
     
Caravaggio St.Francis in Ecstasy oil


St.Francis in Ecstasy
Painting ID::  327 		St.Francis in Ecstasy
1595 Wadsworth Atheneum, Hartford, Connecticut
1595_ Wadsworth_Atheneum,_Hartford,_Connecticut
   
   
     
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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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