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 The Supper at Emmaus oil painting


The Supper at Emmaus
mk170 1601 Oil and egg on canvas 141x196.2cm
Painting ID::  43082 		Caravaggio
The Supper at Emmaus
mk170 1601 Oil and egg on canvas 141x196.2cm
   
   
     
Caravaggio Detail of The Supper at Emmaus oil painting


Detail of The Supper at Emmaus
mk170
Painting ID::  43084 		Caravaggio
Detail of The Supper at Emmaus
mk170
   
   
     
Caravaggio St. John the Baptist oil painting


St. John the Baptist
c. 1604 Oil on canvas, 172,5 x 104,5 cm
Painting ID::  43834 		Caravaggio
St. John the Baptist
c. 1604 Oil on canvas, 172,5 x 104,5 cm
   
   
     
Caravaggio Madonna di Loreto oil painting


Madonna di Loreto
1603-05 Oil on canvas, 260 x 150 cm
Painting ID::  43835 		Caravaggio
Madonna di Loreto
1603-05 Oil on canvas, 260 x 150 cm
   
   
     
Caravaggio St Jerome oil painting


St Jerome
c. 1606 Oil on canvas, 112 x 157 cm
Painting ID::  43836 		Caravaggio
St Jerome
c. 1606 Oil on canvas, 112 x 157 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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