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 Entombment of Christ oil


Entombment of Christ
Painting ID::  30543
Entombment of Christ
mk68 Oil on canvas 9'10"x6'7" Vatican 1602-1603 Italy
   
   
     

Caravaggio La Mort de la Vierge oil


La Mort de la Vierge
Painting ID::  31003
La Mort de la Vierge
mk70 Toile H.3.69 L.2.45 Paris,Musee du Louvre
mk70 Toile H.3.69 L.2.45 Paris,Musee_du_Louvre
   
   
     

Caravaggio La Diseuse de bonne aventure oil


La Diseuse de bonne aventure
Painting ID::  31005
La Diseuse de bonne aventure
mk70 Toile H.0.99 L.1.31 Paris,Musee du Louvre
mk70 Toile H.0.99 L.1.31 Paris,Musee_du_Louvre
   
   
     

Caravaggio Bacchus oil


Bacchus
Painting ID::  33251
Bacchus
mk83 1589-1596 oil on canvas 95x85cm
mk83 1589-1596 oil_on_canvas 95x85cm
   
   
     

Caravaggio The Young Bacchus oil


The Young Bacchus
Painting ID::  33557
The Young Bacchus
mk86 c.1591-1593 Oil on canva s66x53cm Rome Galleria Borghese
   
   
     

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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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