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jesus och larjungarna i emmaus
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jesus_och_larjungarna_i_emmaus
mk248 gesterna i der bar bilden sger oss en bel del. larjungrns utrackta bander till boger,de andra som griper tag i sina stolar, fangar en ogonblicksbild av insikt da den skagglose yngling som de traffat langs vagen avslojar sig som den ateruppstandne lristus nar ban valsignar maltiden. stillebenet med frukter ger biblisk erferenser till ateruppstandelse ocb uppfyllda forvantningar medan applena frestelsens symboler ar markbart maskstungna.
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the head of medusa
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the_head_of_medusa
mk247
c.1598,oil on canvas mounted on wood ,23.5x21.5 in,60x55 cm,uffizi,florence,ltaly
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St. Paul s conversion
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St._Paul_s_conversion
mk250 Rome, Italy, the people of the church of Our Lady of the funeral chapel, the year 1601. Cloth on canvas, 230 x 175 cm around.
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San Marco called
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San_Marco_called
mk250 Rome, Italy, the Church of St. Lugar Kangtaleili Chapel, in the year 1597-1601. Cloth on canvas, 338 x 348 cm around.
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Christian burial
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Christian_burial
mk250 Rome, Italy, St. Mary s Church Chapel Pierrot, the year 1603. Oil painting on cloth, about 300 x 201 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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