|
|
|
Caravaggio Martha and Mary Magdalene 1595
Detroit Institute of Arts
|
|
|
|
|
|
|
|
|
|
Caravaggio Narcissus 1598-99
Galleria Nazionale de Arte Antica, Rome
|
|
|
|
|
|
|
|
|
|
Caravaggio Judith and Holofernes 1599
Galleria Nazionale de Arte Antica, Rome
|
|
|
|
|
|
|
|
|
|
Caravaggio Still Life with Flowers Fruit 1590s
RomeGalleria Borghese, Rome
|
|
|
|
|
|
|
|
|
|
Caravaggio Youth with a Flower Basket 1595
Galleria Borghese, Rome
|
|
|
|
|
|
|
|
|
|
Caravaggio Youth Bitten by a Green Lizard 1592-93
Longhi Collection, Florence
|
|
|
|
|
|
|
|
|
|
Caravaggio Rest During the Flight into Egypt 1595-96
Galleria Doria Pamphili
|
|
|
|
|
|
|
|
|
|
Caravaggio The Cardsharps 1595
Kimbell Art Museum, Fort Worth
|
|
|
|
|
|
|
|
|
|
Caravaggio Medusa 1590
Galleria degli Uffizi, Florence
|
|
|
|
|
|
|
|
|
|
Caravaggio The Sacrifice of Isaac c1596
Barbara Piasecka Johnson Collection, Princeton, NJ
|
|
|
|
|
|
|
|
|
|
Caravaggio The Fortune Teller 1594-95
Musee du Louvre, Paris
|
|
|
|
|
|
|
|
|
|
Caravaggio The Sacrifice of Isaac_2 1603
Galleria degli Uffizi, Florence
|
|
|
|
|
|
|
|
|
|
Caravaggio The Concert The Musicians 1595
Metropolitan Museum of Art, New York
|
|
|
|
|
|
|
|
|
|
Caravaggio Lute Player5 1595
The Hermitage, St.Petersburg
|
|
|
|
|
|
|
|
|
|
Caravaggio St.Francis in Ecstasy 1595
Wadsworth Atheneum, Hartford, Connecticut
|
|
|
|
|
|
|
|
|
|
Caravaggio The Annunciation 1609
Mus??e des Beaux-Arts, Nancy
|
|
|
|
|
|
|
|
|
|
Caravaggio The Nativity with Saints Francis and Lawrence 1609
Formerly San Lorenzo, Palermo (lost)
|
|
|
|
|
|
|
|
|
|
Caravaggio The Beheading of the Baptist 1608
St.John Museum, La Valetta
|
|
|
|
|
|
|
|
|
|
Caravaggio Sick Bacchus g c. 1593
Oil on canvas, 67 x 53 cm
Galleria Borghese, Rome
|
|
|
|
|
|
|
|
|
|
Caravaggio Boy Peeling a Fruit df c. 1593
Oil on canvas, 75,5 x 64,4 cm
Longhi Collection, Rome
|
|
|
|
|
|
|
|
| |
|
|
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.
|