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 david med goliats huvud oil


david med goliats huvud
Painting ID::  70757 		david med goliats huvud
cirka 1606 pa poppeltra 116x90.5cm se
cirka_1606 pa_poppeltra_116x90.5cm se
   
   
     
Caravaggio madonnan med rosenkransen oil


madonnan med rosenkransen
Painting ID::  70758 		madonnan med rosenkransen
cirka 1606 pa duk 249x364cm se
cirka_1606 pa_duk_249x364cm se
   
   
     
Caravaggio Dornenkronung Christi oil


Dornenkronung Christi
Painting ID::  71716 		Dornenkronung Christi
um 1602/1604 Oil on canvas 127 x 166 cm
um_1602/1604_ Oil_on_canvas _ _127_x_166_cm
   
   
     
Caravaggio Gemalde der Contarelli oil


Gemalde der Contarelli
Painting ID::  73089 		Gemalde der Contarelli
Date 1599-1600 Medium English: Oil on canvas Deutsch: Öl auf Leinwand cyf
   
   
     
Caravaggio Saint Jerome Writing oil


Saint Jerome Writing
Painting ID::  74850 		Saint Jerome Writing
1605-1606 Oil on canvas 112 X 157 cm (44.09 X 61.81 in) cjr
   
   
     
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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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