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Caravaggio
Saint John the Baptist
1602(1602).
Medium Oil on canvas.
Dimensions 129 x 94 cm (50.8 x 37 in).
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Caravaggio
Portrait of Antonio Martelli.
Date 1608.(1608.)
Medium Oil on canvas.
Dimensions 118.5 x 95.5 cm (46.7 x 37.6 in).
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Caravaggio
David
between 1606(1606) and 1607(1607)
Medium Oil on wood
Dimensions Height: 90.5 cm (35.6 in). Width: 116 cm (45.7 in).
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Caravaggio
Crucifiction of St. Peter
1600(1600)
Medium Oil on canvas
Dimensions Height: 230 cm (90.6 in). Width: 175 cm (68.9 in).
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Caravaggio
The Conversion of Saint Paul
1600(1600)
Medium oil on canvas
Dimensions Height: 230 cm (90.6 in). Width: 175 cm (68.9 in).
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Caravaggio
Caravaggio
1594-1596
Medium oil on canvas
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Caravaggio
Amor vincit omnia.
c. 1602(1602)
Medium oil on canvas
Dimensions Height: 156 cm (61.4 in). Width: 113 cm (44.5 in).
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Caravaggio
Caravaggio Cardsharps Kimbell detail
1594; Oil on canvas
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Caravaggio
Die Ruhe auf der Flucht nach agypten
1594-1596
Medium oil on canvas
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Caravaggio
Christus in Emmaus
c. 1600
Medium oil on canvas
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Caravaggio
The Fortune Teller by Caravaggio.
c. 1594
Medium oil on canvas
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Caravaggio
David and Goliath
1599
Type Oil on canvas
Dimensions 110 cm x 91 cm (43 in x 36 in)
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Caravaggio
Conversion of Saint Paul
1600/1601
Type Oil on cypress wood
Dimensions 237 cm x 189 cm (93 in x 74 in)
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Caravaggio
Saint Matthew and the Angel
1602
Type Oil on canvas
Dimensions 295 cm x 195 cm (116 in x 77 in)
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Caravaggio
Ecce Homo
1605
Type Oil on canvas
Dimensions 128 cm x 103 cm (50 in x 41 in)
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Caravaggio
Mary Magdalen in Ecstasy
Artist Caravaggio
Year 1606
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Caravaggio
Supper at Emmaus
1606
Type Oil on canvas
Dimensions 141 cm x 175 cm (56 in x 69 in)
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Caravaggio
Crucifixion of Saint Andrew
circa 1607(1607)
Medium oil on canvas
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Caravaggio
Salome with the Head of John the Baptist
. 1607
Type Oil on canvas
Dimensions 91.5 cm x 106.7 cm
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Caravaggio
Adoration of the Shepherds
1609
Type Oil on canvas
Dimensions 314 cm x 211 cm (124 in x 83 in)
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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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