All Caravaggio Oil Paintings

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 St. Francis in Ecstasy oil on canvas


St. Francis in Ecstasy
St. Francis in Ecstasy
Painting ID::  43844 		  c. 1595 Oil on canvas, 92,5 x 128,4 cm
  c. 1595 Oil on canvas, 92,5 x 128,4 cm

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Caravaggio Judith Beheading Holofernes oil on canvas


Judith Beheading Holofernes
Judith Beheading Holofernes
Painting ID::  43845 		  c. 1598 Oil on canvas, 145 x 195 cm
  c. 1598 Oil on canvas, 145 x 195 cm

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Caravaggio St. John the Baptist oil on canvas


St. John the Baptist
St. John the Baptist
Painting ID::  43846 		  1600 Oil on canvas, 230 x 175 cm
  1600 Oil on canvas, 230 x 175 cm

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Caravaggio The Incredulity of Saint Thomas oil on canvas


The Incredulity of Saint Thomas
The Incredulity of Saint Thomas
Painting ID::  43848 		  1601-02 Oil on canvas, 107 x 146 cm
  1601-02 Oil on canvas, 107 x 146 cm

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Caravaggio The Crowning with Thorns oil on canvas


The Crowning with Thorns
The Crowning with Thorns
Painting ID::  43849 		  Oil on canvas, 178 x 125 cm
  Oil on canvas, 178 x 125 cm

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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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