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Text
setting.
DAVID WITH THE HEAD OF GOLIATH, 1610 BY CARAVAGGIO David with the Head of Goliath, 1610 by Caravaggio. On May 1606 Caravaggio was accused of murder and fled from Rome to distant lands (Naples, Sicily, Malta) to escape the price that had been placed on his head. His self-portrait as Goliath's severed head, held by David his executioner, was sent to the papal court in 1610 as a kind ofpainted
THE ENTOMBMENT, 1603 BY CARAVAGGIO The Entombment is the sole painting of Caravaggio's maturity that gained unanimous critical acclaim, and it was much copied- no fewer than forty-four drawn, painted, or engraved copies are known, including one by Paul Cezanne, who, having never visited Rome, musthave made his
AMOR VICTORIOUS, 1602 BY CARAVAGGIO Amor Victorious, 1602 by Caravaggio. Cupid, the god of love stand upon the trampled symbols of music, science, war, and government, illustrating Virgil's line: "love conquers all; let us all yield to love!" Caravaggio's depiction of Cupid, rather than the cherub-like, idealized boy, is realistic, from the crooked grin to the tousled headof hair.
MEDUSA, 1597 BY CARAVAGGIO The "Head of Medusa" executed by Caravaggio, in 1598, was commissioned as a cerimonial shield by Cardinal Francesco Maria Del Monte, the Medici family's agent in Rome, after seeing, on the painters studio, the first version - The Metula painting. The purpose of this commissioned was to symbolize the Grand Duke of Tuscany's courage indefeating
THE INCREDULITY OF SAINT THOMAS, 1603 BY CARAVAGGIO The Incredulity of Saint Thomas, 1603 by Caravaggio. The Incredulity of Saint Thomas is without any accessories or any indication of setting. It is tensely concentrated, compact within a solid Romanesque archway formed by the outline of the four figures clustered intimatelytogether
THE SEVEN WORKS OF MERCY, 1607 BY CARAVAGGIO The Seven Works of Mercy, 1607 by Caravaggio. In January, 1606, Pope Paul V conceded a privileged altar to the aristocratic congregation of the Misericordia, founded in Naples five years before. Caravaggio may have been invited there for the purpose of painting the altarpiece. He carried it out rapidly, between September 23, 1606, and January 9 THE CARDSHARPS, 1594 BY CARAVAGGIO The Cardsharps, 1594 by Caravaggio. In The Cardsharps, all sights are fixed. Whatever's blocked from view, or turned away from view, is stuck that way. Nothing the viewer can do, nothing the picture can do, will show more, or less, of anything. But the limits of an art can beits powers.
THE SACRIFICE OF ISAAC, 1602 BY CARAVAGGIO The Sacrifice of Isaac, 1602 by Caravaggio. Although the pair of figures barely discernible in the right background may refer to the two young men who accompanied Abraham but were left at the foot of the mountain to wait while he sacrificed his son, other details do SAINT MATTHEW AND THE ANGEL 1602- BY CARAVAGGIO Saint Matthew and the Angel 1602- by Caravaggio. In this painting, the line at the bottom left is due to a crack in the photographic plate. At the time of Caravaggio's commission for the two lateral paintings the commission for the altarpiece still belonged to the mediocre and extremely old Flemish sculptor, Jacob Cobaert; but apparently his THE TAKING OF CHRIST, 1602 BY CARAVAGGIO The Taking of Christ was painted by Caravaggio for the Roman Marquis Ciriaco Mattei at the end of 1602, when he was at the height of his fame. Breaking with the past, the artist offered a new visual rendering of the narrative of the Gospels, reducing the space around the three-quarter-length figures and avoiding any description of thesetting.
DAVID WITH THE HEAD OF GOLIATH, 1610 BY CARAVAGGIO David with the Head of Goliath, 1610 by Caravaggio. On May 1606 Caravaggio was accused of murder and fled from Rome to distant lands (Naples, Sicily, Malta) to escape the price that had been placed on his head. His self-portrait as Goliath's severed head, held by David his executioner, was sent to the papal court in 1610 as a kind ofpainted
THE ENTOMBMENT, 1603 BY CARAVAGGIO The Entombment is the sole painting of Caravaggio's maturity that gained unanimous critical acclaim, and it was much copied- no fewer than forty-four drawn, painted, or engraved copies are known, including one by Paul Cezanne, who, having never visited Rome, musthave made his
AMOR VICTORIOUS, 1602 BY CARAVAGGIO Amor Victorious, 1602 by Caravaggio. Cupid, the god of love stand upon the trampled symbols of music, science, war, and government, illustrating Virgil's line: "love conquers all; let us all yield to love!" Caravaggio's depiction of Cupid, rather than the cherub-like, idealized boy, is realistic, from the crooked grin to the tousled headof hair.
MEDUSA, 1597 BY CARAVAGGIO The "Head of Medusa" executed by Caravaggio, in 1598, was commissioned as a cerimonial shield by Cardinal Francesco Maria Del Monte, the Medici family's agent in Rome, after seeing, on the painters studio, the first version - The Metula painting. The purpose of this commissioned was to symbolize the Grand Duke of Tuscany's courage indefeating
THE INCREDULITY OF SAINT THOMAS, 1603 BY CARAVAGGIO The Incredulity of Saint Thomas, 1603 by Caravaggio. The Incredulity of Saint Thomas is without any accessories or any indication of setting. It is tensely concentrated, compact within a solid Romanesque archway formed by the outline of the four figures clustered intimatelytogether
THE SEVEN WORKS OF MERCY, 1607 BY CARAVAGGIO The Seven Works of Mercy, 1607 by Caravaggio. In January, 1606, Pope Paul V conceded a privileged altar to the aristocratic congregation of the Misericordia, founded in Naples five years before. Caravaggio may have been invited there for the purpose of painting the altarpiece. He carried it out rapidly, between September 23, 1606, and January 9 THE CARDSHARPS, 1594 BY CARAVAGGIO The Cardsharps, 1594 by Caravaggio. In The Cardsharps, all sights are fixed. Whatever's blocked from view, or turned away from view, is stuck that way. Nothing the viewer can do, nothing the picture can do, will show more, or less, of anything. But the limits of an art can beits powers.
THE SACRIFICE OF ISAAC, 1602 BY CARAVAGGIO The Sacrifice of Isaac, 1602 by Caravaggio. Although the pair of figures barely discernible in the right background may refer to the two young men who accompanied Abraham but were left at the foot of the mountain to wait while he sacrificed his son, other details do SAINT MATTHEW AND THE ANGEL 1602- BY CARAVAGGIO Saint Matthew and the Angel 1602- by Caravaggio. In this painting, the line at the bottom left is due to a crack in the photographic plate. At the time of Caravaggio's commission for the two lateral paintings the commission for the altarpiece still belonged to the mediocre and extremely old Flemish sculptor, Jacob Cobaert; but apparently his CARAVAGGIO PAINTINGS Adoration of the Shepherds, 1609 - by Caravaggio: Amor Victorious, 1602 - by Caravaggio: Annunciation, 1608 - by Caravaggio THE DEATH OF THE VIRGIN, 1603 BY CARAVAGGIO The Death of the Virgin, 1603 by Caravaggio. Traditionally the Transit of the Virgin, to which the chapel was dedicated, is depicted as a transcendental event - the Virgin usually makes some pious gesture, her soul is sometimes shown flying heavenward, and clouds of angelsoften appear.
THE SEVEN WORKS OF MERCY, 1607 BY CARAVAGGIO The Seven Works of Mercy, 1607 by Caravaggio. In January, 1606, Pope Paul V conceded a privileged altar to the aristocratic congregation of the Misericordia, founded in Naples five years before. Caravaggio may have been invited there for the purpose of painting the altarpiece. He carried it out rapidly, between September 23, 1606, and January 9 THE CARDSHARPS, 1594 BY CARAVAGGIO The Cardsharps, 1594 by Caravaggio. In The Cardsharps, all sights are fixed. Whatever's blocked from view, or turned away from view, is stuck that way. Nothing the viewer can do, nothing the picture can do, will show more, or less, of anything. But the limits of an art can beits powers.
THE SACRIFICE OF ISAAC, 1602 BY CARAVAGGIO The Sacrifice of Isaac, 1602 by Caravaggio. Although the pair of figures barely discernible in the right background may refer to the two young men who accompanied Abraham but were left at the foot of the mountain to wait while he sacrificed his son, other details do JOHN THE BAPTIST 1602 John the baptist 1602 - by Caravaggio. Courtesy of www.Caravaggio.org. The most likely provenance for this iconographically unusual picture was first reconstructed by Denis Mahon (1955), who argues that it was commissioned by Ciriaco Mattei, was given by him to his son, Giovanni Battista, who, interestingly enough, bore the same name as the THE REST ON THE FLIGHT INTO EGYPT, 1597 BY CARAVAGGIO The Rest on the Flight into Egypt, 1597 by Caravaggio. Following an old North Italian tradition, Caravaggio conceived the subject as a kind of'fete champitre, a musical picnic. Set in a verdant and well-watered dell on the Lombard plain, it is as lyrical as comparable works by Giorgione and his successors. SAINT MATTHEW AND THE ANGEL 1602- BY CARAVAGGIO Saint Matthew and the Angel 1602- by Caravaggio. In this painting, the line at the bottom left is due to a crack in the photographic plate. At the time of Caravaggio's commission for the two lateral paintings the commission for the altarpiece still belonged to the mediocre and extremely old Flemish sculptor, Jacob Cobaert; but apparently his BEHEADING OF SAINT JOHN THE BAPTIST 1608 The Beheading of St. John the Baptist is Caravaggio's only surviving signed work; the 'f. michelan . . .' which is scrawled in the blood which flows from the Baptist's throat can be read either as 'fra michelan', in which case the work must date from after Caravaggio's appointment as a Knight of Obedience of the Order of St. John on 14 July 1608, or SAINT JEROME WRITING 1605 Saint jerome writing 1605 - by Caravaggio. St. Jerome Writing was painted, according to Bellori, for Pope Paul V's nephew, Cardinal Scipione Borghese, who only arrived in Rome in the summer of 1605, but rapidly became a keen collector of Caravaggio's work. Obviously the model was the same as that for the Montserrat St. Jerome, but thehandling
THE TAKING OF CHRIST, 1602 BY CARAVAGGIO The Taking of Christ was painted by Caravaggio for the Roman Marquis Ciriaco Mattei at the end of 1602, when he was at the height of his fame. Breaking with the past, the artist offered a new visual rendering of the narrative of the Gospels, reducing the space around the three-quarter-length figures and avoiding any description of thesetting.
THE ENTOMBMENT, 1603 BY CARAVAGGIO The Entombment is the sole painting of Caravaggio's maturity that gained unanimous critical acclaim, and it was much copied- no fewer than forty-four drawn, painted, or engraved copies are known, including one by Paul Cezanne, who, having never visited Rome, musthave made his
AMOR VICTORIOUS, 1602 BY CARAVAGGIO Amor Victorious, 1602 by Caravaggio. Cupid, the god of love stand upon the trampled symbols of music, science, war, and government, illustrating Virgil's line: "love conquers all; let us all yield to love!" Caravaggio's depiction of Cupid, rather than the cherub-like, idealized boy, is realistic, from the crooked grin to the tousled headof hair.
DAVID WITH THE HEAD OF GOLIATH, 1610 BY CARAVAGGIO David with the Head of Goliath, 1610 by Caravaggio. On May 1606 Caravaggio was accused of murder and fled from Rome to distant lands (Naples, Sicily, Malta) to escape the price that had been placed on his head. His self-portrait as Goliath's severed head, held by David his executioner, was sent to the papal court in 1610 as a kind ofpainted
MEDUSA, 1597 BY CARAVAGGIO The "Head of Medusa" executed by Caravaggio, in 1598, was commissioned as a cerimonial shield by Cardinal Francesco Maria Del Monte, the Medici family's agent in Rome, after seeing, on the painters studio, the first version - The Metula painting. The purpose of this commissioned was to symbolize the Grand Duke of Tuscany's courage indefeating
THE INCREDULITY OF SAINT THOMAS, 1603 BY CARAVAGGIO The Incredulity of Saint Thomas, 1603 by Caravaggio. The Incredulity of Saint Thomas is without any accessories or any indication of setting. It is tensely concentrated, compact within a solid Romanesque archway formed by the outline of the four figures clustered intimatelytogether
THE SEVEN WORKS OF MERCY, 1607 BY CARAVAGGIO The Seven Works of Mercy, 1607 by Caravaggio. In January, 1606, Pope Paul V conceded a privileged altar to the aristocratic congregation of the Misericordia, founded in Naples five years before. Caravaggio may have been invited there for the purpose of painting the altarpiece. He carried it out rapidly, between September 23, 1606, and January 9 THE DEATH OF THE VIRGIN, 1603 BY CARAVAGGIO The Death of the Virgin, 1603 by Caravaggio. Traditionally the Transit of the Virgin, to which the chapel was dedicated, is depicted as a transcendental event - the Virgin usually makes some pious gesture, her soul is sometimes shown flying heavenward, and clouds of angelsoften appear.
SAINT MATTHEW AND THE ANGEL 1602- BY CARAVAGGIO Saint Matthew and the Angel 1602- by Caravaggio. In this painting, the line at the bottom left is due to a crack in the photographic plate. At the time of Caravaggio's commission for the two lateral paintings the commission for the altarpiece still belonged to the mediocre and extremely old Flemish sculptor, Jacob Cobaert; but apparently his THE CALLING OF SAINT MATHEW, 1600 BY CARAVAGGIO The Calling of Saint Mathew, 1600 by Caravaggio. The subject traditionally was represented either indoors or out; sometimes Saint Matthew is shown inside a building, with Christ outside (following the Biblical text) summoning him through a window. Both before and after Caravaggio the subject was often used as a pretext for anecdotal genre THE TAKING OF CHRIST, 1602 BY CARAVAGGIO The Taking of Christ was painted by Caravaggio for the Roman Marquis Ciriaco Mattei at the end of 1602, when he was at the height of his fame. Breaking with the past, the artist offered a new visual rendering of the narrative of the Gospels, reducing the space around the three-quarter-length figures and avoiding any description of thesetting.
THE ENTOMBMENT, 1603 BY CARAVAGGIO The Entombment is the sole painting of Caravaggio's maturity that gained unanimous critical acclaim, and it was much copied- no fewer than forty-four drawn, painted, or engraved copies are known, including one by Paul Cezanne, who, having never visited Rome, musthave made his
AMOR VICTORIOUS, 1602 BY CARAVAGGIO Amor Victorious, 1602 by Caravaggio. Cupid, the god of love stand upon the trampled symbols of music, science, war, and government, illustrating Virgil's line: "love conquers all; let us all yield to love!" Caravaggio's depiction of Cupid, rather than the cherub-like, idealized boy, is realistic, from the crooked grin to the tousled headof hair.
DAVID WITH THE HEAD OF GOLIATH, 1610 BY CARAVAGGIO David with the Head of Goliath, 1610 by Caravaggio. On May 1606 Caravaggio was accused of murder and fled from Rome to distant lands (Naples, Sicily, Malta) to escape the price that had been placed on his head. His self-portrait as Goliath's severed head, held by David his executioner, was sent to the papal court in 1610 as a kind ofpainted
MEDUSA, 1597 BY CARAVAGGIO The "Head of Medusa" executed by Caravaggio, in 1598, was commissioned as a cerimonial shield by Cardinal Francesco Maria Del Monte, the Medici family's agent in Rome, after seeing, on the painters studio, the first version - The Metula painting. The purpose of this commissioned was to symbolize the Grand Duke of Tuscany's courage indefeating
THE INCREDULITY OF SAINT THOMAS, 1603 BY CARAVAGGIO The Incredulity of Saint Thomas, 1603 by Caravaggio. The Incredulity of Saint Thomas is without any accessories or any indication of setting. It is tensely concentrated, compact within a solid Romanesque archway formed by the outline of the four figures clustered intimatelytogether
THE SEVEN WORKS OF MERCY, 1607 BY CARAVAGGIO The Seven Works of Mercy, 1607 by Caravaggio. In January, 1606, Pope Paul V conceded a privileged altar to the aristocratic congregation of the Misericordia, founded in Naples five years before. Caravaggio may have been invited there for the purpose of painting the altarpiece. He carried it out rapidly, between September 23, 1606, and January 9 THE DEATH OF THE VIRGIN, 1603 BY CARAVAGGIO The Death of the Virgin, 1603 by Caravaggio. Traditionally the Transit of the Virgin, to which the chapel was dedicated, is depicted as a transcendental event - the Virgin usually makes some pious gesture, her soul is sometimes shown flying heavenward, and clouds of angelsoften appear.
SAINT MATTHEW AND THE ANGEL 1602- BY CARAVAGGIO Saint Matthew and the Angel 1602- by Caravaggio. In this painting, the line at the bottom left is due to a crack in the photographic plate. At the time of Caravaggio's commission for the two lateral paintings the commission for the altarpiece still belonged to the mediocre and extremely old Flemish sculptor, Jacob Cobaert; but apparently his THE CALLING OF SAINT MATHEW, 1600 BY CARAVAGGIO The Calling of Saint Mathew, 1600 by Caravaggio. The subject traditionally was represented either indoors or out; sometimes Saint Matthew is shown inside a building, with Christ outside (following the Biblical text) summoning him through a window. Both before and after Caravaggio the subject was often used as a pretext for anecdotal genre CARAVAGGIO PAINTINGS Adoration of the Shepherds, 1609 - by Caravaggio: Amor Victorious, 1602 - by Caravaggio: Annunciation, 1608 - by Caravaggio AMOR VICTORIOUS, 1602 BY CARAVAGGIO Amor Victorious, 1602 by Caravaggio. Cupid, the god of love stand upon the trampled symbols of music, science, war, and government, illustrating Virgil's line: "love conquers all; let us all yield to love!" Caravaggio's depiction of Cupid, rather than the cherub-like, idealized boy, is realistic, from the crooked grin to the tousled headof hair.
THE DEATH OF THE VIRGIN, 1603 BY CARAVAGGIO The Death of the Virgin, 1603 by Caravaggio. Traditionally the Transit of the Virgin, to which the chapel was dedicated, is depicted as a transcendental event - the Virgin usually makes some pious gesture, her soul is sometimes shown flying heavenward, and clouds of angelsoften appear.
THE SEVEN WORKS OF MERCY, 1607 BY CARAVAGGIO The Seven Works of Mercy, 1607 by Caravaggio. In January, 1606, Pope Paul V conceded a privileged altar to the aristocratic congregation of the Misericordia, founded in Naples five years before. Caravaggio may have been invited there for the purpose of painting the altarpiece. He carried it out rapidly, between September 23, 1606, and January 9 THE CARDSHARPS, 1594 BY CARAVAGGIO The Cardsharps, 1594 by Caravaggio. In The Cardsharps, all sights are fixed. Whatever's blocked from view, or turned away from view, is stuck that way. Nothing the viewer can do, nothing the picture can do, will show more, or less, of anything. But the limits of an art can beits powers.
THE REST ON THE FLIGHT INTO EGYPT, 1597 BY CARAVAGGIO The Rest on the Flight into Egypt, 1597 by Caravaggio. Following an old North Italian tradition, Caravaggio conceived the subject as a kind of'fete champitre, a musical picnic. Set in a verdant and well-watered dell on the Lombard plain, it is as lyrical as comparable works by Giorgione and his successors. SAINT MATTHEW AND THE ANGEL 1602- BY CARAVAGGIO Saint Matthew and the Angel 1602- by Caravaggio. In this painting, the line at the bottom left is due to a crack in the photographic plate. At the time of Caravaggio's commission for the two lateral paintings the commission for the altarpiece still belonged to the mediocre and extremely old Flemish sculptor, Jacob Cobaert; but apparently his NATIVITY WITH ST FRANCIS AND ST LAWRENCE 1609 Nativity with st francis and st lawrence 1609 - by Caravaggio. The Nativity with Saint Francis and Saint Lawrence is the only known work associated with Caravaggio's brief stay in Palermo and is much more traditional than the Messina Adoration, not only because the Christ Child is alone on the ground while the Madonna sits on a low seat (amore
THE SACRIFICE OF ISAAC, 1602 BY CARAVAGGIO The Sacrifice of Isaac, 1602 by Caravaggio. Although the pair of figures barely discernible in the right background may refer to the two young men who accompanied Abraham but were left at the foot of the mountain to wait while he sacrificed his son, other details do BEHEADING OF SAINT JOHN THE BAPTIST 1608 The Beheading of St. John the Baptist is Caravaggio's only surviving signed work; the 'f. michelan . . .' which is scrawled in the blood which flows from the Baptist's throat can be read either as 'fra michelan', in which case the work must date from after Caravaggio's appointment as a Knight of Obedience of the Order of St. John on 14 July 1608, or THE TAKING OF CHRIST, 1602 BY CARAVAGGIO The Taking of Christ was painted by Caravaggio for the Roman Marquis Ciriaco Mattei at the end of 1602, when he was at the height of his fame. Breaking with the past, the artist offered a new visual rendering of the narrative of the Gospels, reducing the space around the three-quarter-length figures and avoiding any description of thesetting.
THE ENTOMBMENT, 1603 BY CARAVAGGIO The Entombment is the sole painting of Caravaggio's maturity that gained unanimous critical acclaim, and it was much copied- no fewer than forty-four drawn, painted, or engraved copies are known, including one by Paul Cezanne, who, having never visited Rome, musthave made his
AMOR VICTORIOUS, 1602 BY CARAVAGGIO Amor Victorious, 1602 by Caravaggio. Cupid, the god of love stand upon the trampled symbols of music, science, war, and government, illustrating Virgil's line: "love conquers all; let us all yield to love!" Caravaggio's depiction of Cupid, rather than the cherub-like, idealized boy, is realistic, from the crooked grin to the tousled headof hair.
DAVID WITH THE HEAD OF GOLIATH, 1610 BY CARAVAGGIO David with the Head of Goliath, 1610 by Caravaggio. On May 1606 Caravaggio was accused of murder and fled from Rome to distant lands (Naples, Sicily, Malta) to escape the price that had been placed on his head. His self-portrait as Goliath's severed head, held by David his executioner, was sent to the papal court in 1610 as a kind ofpainted
MEDUSA, 1597 BY CARAVAGGIO The "Head of Medusa" executed by Caravaggio, in 1598, was commissioned as a cerimonial shield by Cardinal Francesco Maria Del Monte, the Medici family's agent in Rome, after seeing, on the painters studio, the first version - The Metula painting. The purpose of this commissioned was to symbolize the Grand Duke of Tuscany's courage indefeating
THE INCREDULITY OF SAINT THOMAS, 1603 BY CARAVAGGIO The Incredulity of Saint Thomas, 1603 by Caravaggio. The Incredulity of Saint Thomas is without any accessories or any indication of setting. It is tensely concentrated, compact within a solid Romanesque archway formed by the outline of the four figures clustered intimatelytogether
THE SEVEN WORKS OF MERCY, 1607 BY CARAVAGGIO The Seven Works of Mercy, 1607 by Caravaggio. In January, 1606, Pope Paul V conceded a privileged altar to the aristocratic congregation of the Misericordia, founded in Naples five years before. Caravaggio may have been invited there for the purpose of painting the altarpiece. He carried it out rapidly, between September 23, 1606, and January 9 THE DEATH OF THE VIRGIN, 1603 BY CARAVAGGIO The Death of the Virgin, 1603 by Caravaggio. Traditionally the Transit of the Virgin, to which the chapel was dedicated, is depicted as a transcendental event - the Virgin usually makes some pious gesture, her soul is sometimes shown flying heavenward, and clouds of angelsoften appear.
SAINT MATTHEW AND THE ANGEL 1602- BY CARAVAGGIO Saint Matthew and the Angel 1602- by Caravaggio. In this painting, the line at the bottom left is due to a crack in the photographic plate. At the time of Caravaggio's commission for the two lateral paintings the commission for the altarpiece still belonged to the mediocre and extremely old Flemish sculptor, Jacob Cobaert; but apparently his THE CALLING OF SAINT MATHEW, 1600 BY CARAVAGGIO The Calling of Saint Mathew, 1600 by Caravaggio. The subject traditionally was represented either indoors or out; sometimes Saint Matthew is shown inside a building, with Christ outside (following the Biblical text) summoning him through a window. Both before and after Caravaggio the subject was often used as a pretext for anecdotal genre THE TAKING OF CHRIST, 1602 BY CARAVAGGIO The Taking of Christ was painted by Caravaggio for the Roman Marquis Ciriaco Mattei at the end of 1602, when he was at the height of his fame. Breaking with the past, the artist offered a new visual rendering of the narrative of the Gospels, reducing the space around the three-quarter-length figures and avoiding any description of thesetting.
THE ENTOMBMENT, 1603 BY CARAVAGGIO The Entombment is the sole painting of Caravaggio's maturity that gained unanimous critical acclaim, and it was much copied- no fewer than forty-four drawn, painted, or engraved copies are known, including one by Paul Cezanne, who, having never visited Rome, musthave made his
AMOR VICTORIOUS, 1602 BY CARAVAGGIO Amor Victorious, 1602 by Caravaggio. Cupid, the god of love stand upon the trampled symbols of music, science, war, and government, illustrating Virgil's line: "love conquers all; let us all yield to love!" Caravaggio's depiction of Cupid, rather than the cherub-like, idealized boy, is realistic, from the crooked grin to the tousled headof hair.
DAVID WITH THE HEAD OF GOLIATH, 1610 BY CARAVAGGIO David with the Head of Goliath, 1610 by Caravaggio. On May 1606 Caravaggio was accused of murder and fled from Rome to distant lands (Naples, Sicily, Malta) to escape the price that had been placed on his head. His self-portrait as Goliath's severed head, held by David his executioner, was sent to the papal court in 1610 as a kind ofpainted
MEDUSA, 1597 BY CARAVAGGIO The "Head of Medusa" executed by Caravaggio, in 1598, was commissioned as a cerimonial shield by Cardinal Francesco Maria Del Monte, the Medici family's agent in Rome, after seeing, on the painters studio, the first version - The Metula painting. The purpose of this commissioned was to symbolize the Grand Duke of Tuscany's courage indefeating
THE INCREDULITY OF SAINT THOMAS, 1603 BY CARAVAGGIO The Incredulity of Saint Thomas, 1603 by Caravaggio. The Incredulity of Saint Thomas is without any accessories or any indication of setting. It is tensely concentrated, compact within a solid Romanesque archway formed by the outline of the four figures clustered intimatelytogether
THE SEVEN WORKS OF MERCY, 1607 BY CARAVAGGIO The Seven Works of Mercy, 1607 by Caravaggio. In January, 1606, Pope Paul V conceded a privileged altar to the aristocratic congregation of the Misericordia, founded in Naples five years before. Caravaggio may have been invited there for the purpose of painting the altarpiece. He carried it out rapidly, between September 23, 1606, and January 9 THE DEATH OF THE VIRGIN, 1603 BY CARAVAGGIO The Death of the Virgin, 1603 by Caravaggio. Traditionally the Transit of the Virgin, to which the chapel was dedicated, is depicted as a transcendental event - the Virgin usually makes some pious gesture, her soul is sometimes shown flying heavenward, and clouds of angelsoften appear.
SAINT MATTHEW AND THE ANGEL 1602- BY CARAVAGGIO Saint Matthew and the Angel 1602- by Caravaggio. In this painting, the line at the bottom left is due to a crack in the photographic plate. At the time of Caravaggio's commission for the two lateral paintings the commission for the altarpiece still belonged to the mediocre and extremely old Flemish sculptor, Jacob Cobaert; but apparently his THE CALLING OF SAINT MATHEW, 1600 BY CARAVAGGIO The Calling of Saint Mathew, 1600 by Caravaggio. The subject traditionally was represented either indoors or out; sometimes Saint Matthew is shown inside a building, with Christ outside (following the Biblical text) summoning him through a window. Both before and after Caravaggio the subject was often used as a pretext for anecdotal genre CARAVAGGIO PAINTINGS Adoration of the Shepherds, 1609 - by Caravaggio: Amor Victorious, 1602 - by Caravaggio: Annunciation, 1608 - by Caravaggio AMOR VICTORIOUS, 1602 BY CARAVAGGIO Amor Victorious, 1602 by Caravaggio. Cupid, the god of love stand upon the trampled symbols of music, science, war, and government, illustrating Virgil's line: "love conquers all; let us all yield to love!" Caravaggio's depiction of Cupid, rather than the cherub-like, idealized boy, is realistic, from the crooked grin to the tousled headof hair.
THE DEATH OF THE VIRGIN, 1603 BY CARAVAGGIO The Death of the Virgin, 1603 by Caravaggio. Traditionally the Transit of the Virgin, to which the chapel was dedicated, is depicted as a transcendental event - the Virgin usually makes some pious gesture, her soul is sometimes shown flying heavenward, and clouds of angelsoften appear.
THE SEVEN WORKS OF MERCY, 1607 BY CARAVAGGIO The Seven Works of Mercy, 1607 by Caravaggio. In January, 1606, Pope Paul V conceded a privileged altar to the aristocratic congregation of the Misericordia, founded in Naples five years before. Caravaggio may have been invited there for the purpose of painting the altarpiece. He carried it out rapidly, between September 23, 1606, and January 9 THE CARDSHARPS, 1594 BY CARAVAGGIO The Cardsharps, 1594 by Caravaggio. In The Cardsharps, all sights are fixed. Whatever's blocked from view, or turned away from view, is stuck that way. Nothing the viewer can do, nothing the picture can do, will show more, or less, of anything. But the limits of an art can beits powers.
THE REST ON THE FLIGHT INTO EGYPT, 1597 BY CARAVAGGIO The Rest on the Flight into Egypt, 1597 by Caravaggio. Following an old North Italian tradition, Caravaggio conceived the subject as a kind of'fete champitre, a musical picnic. Set in a verdant and well-watered dell on the Lombard plain, it is as lyrical as comparable works by Giorgione and his successors. SAINT MATTHEW AND THE ANGEL 1602- BY CARAVAGGIO Saint Matthew and the Angel 1602- by Caravaggio. In this painting, the line at the bottom left is due to a crack in the photographic plate. At the time of Caravaggio's commission for the two lateral paintings the commission for the altarpiece still belonged to the mediocre and extremely old Flemish sculptor, Jacob Cobaert; but apparently his NATIVITY WITH ST FRANCIS AND ST LAWRENCE 1609 Nativity with st francis and st lawrence 1609 - by Caravaggio. The Nativity with Saint Francis and Saint Lawrence is the only known work associated with Caravaggio's brief stay in Palermo and is much more traditional than the Messina Adoration, not only because the Christ Child is alone on the ground while the Madonna sits on a low seat (amore
THE SACRIFICE OF ISAAC, 1602 BY CARAVAGGIO The Sacrifice of Isaac, 1602 by Caravaggio. Although the pair of figures barely discernible in the right background may refer to the two young men who accompanied Abraham but were left at the foot of the mountain to wait while he sacrificed his son, other details do BEHEADING OF SAINT JOHN THE BAPTIST 1608 The Beheading of St. John the Baptist is Caravaggio's only surviving signed work; the 'f. michelan . . .' which is scrawled in the blood which flows from the Baptist's throat can be read either as 'fra michelan', in which case the work must date from after Caravaggio's appointment as a Knight of Obedience of the Order of St. John on 14 July 1608, or AMOR VICTORIOUS, 1602 BY CARAVAGGIOCUPID AS VICTOR BY CARAVAGGIOAMOR VINCIT OMNIAAMOR VINCIT OMNIA PAINTINGCARAVAGGIO AMOR VICTORIOUS Amor Victorious, 1602 by Caravaggio. Cupid, the god of love stand upon the trampled symbols of music, science, war, and government, illustrating Virgil's line: "love conquers all; let us all yield to love!" Caravaggio's depiction of Cupid, rather than the cherub-like, idealized boy, is realistic, from the crooked grin to the tousled headof hair.
MEDUSA, 1597 BY CARAVAGGIO The "Head of Medusa" executed by Caravaggio, in 1598, was commissioned as a cerimonial shield by Cardinal Francesco Maria Del Monte, the Medici family's agent in Rome, after seeing, on the painters studio, the first version - The Metula painting. The purpose of this commissioned was to symbolize the Grand Duke of Tuscany's courage indefeating
DAVID WITH THE HEAD OF GOLIATH, 1610 BY CARAVAGGIO David with the Head of Goliath, 1610 by Caravaggio. On May 1606 Caravaggio was accused of murder and fled from Rome to distant lands (Naples, Sicily, Malta) to escape the price that had been placed on his head. His self-portrait as Goliath's severed head, held by David his executioner, was sent to the papal court in 1610 as a kind ofpainted
THE INCREDULITY OF SAINT THOMAS, 1603 BY CARAVAGGIO The Incredulity of Saint Thomas, 1603 by Caravaggio. The Incredulity of Saint Thomas is without any accessories or any indication of setting. It is tensely concentrated, compact within a solid Romanesque archway formed by the outline of the four figures clustered intimatelytogether
THE ENTOMBMENT, 1603 BY CARAVAGGIO The Entombment is the sole painting of Caravaggio's maturity that gained unanimous critical acclaim, and it was much copied- no fewer than forty-four drawn, painted, or engraved copies are known, including one by Paul Cezanne, who, having never visited Rome, musthave made his
BEHEADING OF SAINT JOHN THE BAPTIST 1608 The Beheading of St. John the Baptist is Caravaggio's only surviving signed work; the 'f. michelan . . .' which is scrawled in the blood which flows from the Baptist's throat can be read either as 'fra michelan', in which case the work must date from after Caravaggio's appointment as a Knight of Obedience of the Order of St. John on 14 July 1608, or RECLINING BAPTIST, 1610 BY CARAVAGGIO Reclining Baptist, 1610 by Caravaggio. Reclining Baptist, believed to be Caravaggio's last painting, is barely known by comparison to his other pieces. This is due to disputes that arose after Caravaggio's death regarding the attribution of the piece as a work of the greatmaster.
THE SACRIFICE OF ISAAC, 1602 BY CARAVAGGIO The Sacrifice of Isaac, 1602 by Caravaggio. Although the pair of figures barely discernible in the right background may refer to the two young men who accompanied Abraham but were left at the foot of the mountain to wait while he sacrificed his son, other details do SAINT MATTHEW AND THE ANGEL 1602- BY CARAVAGGIO Saint Matthew and the Angel 1602- by Caravaggio. In this painting, the line at the bottom left is due to a crack in the photographic plate. At the time of Caravaggio's commission for the two lateral paintings the commission for the altarpiece still belonged to the mediocre and extremely old Flemish sculptor, Jacob Cobaert; but apparently hisSLEEPING CUPID 1608
Sleeping cupid 1608 - by Caravaggio. The subject of Sleeping Cupid, his quiver and arrows discarded, his bow-string slackened, usually signified the abandonment of worldly pleasures: Marini has even speculated that the present picture may have been commissioned by a Knight of Justice of the Order of St. John as a reminder of his vow ofchastity.
AMOR VICTORIOUS, 1602 BY CARAVAGGIOCUPID AS VICTOR BY CARAVAGGIOAMOR VINCIT OMNIAAMOR VINCIT OMNIA PAINTINGCARAVAGGIO AMOR VICTORIOUS Amor Victorious, 1602 by Caravaggio. Cupid, the god of love stand upon the trampled symbols of music, science, war, and government, illustrating Virgil's line: "love conquers all; let us all yield to love!" Caravaggio's depiction of Cupid, rather than the cherub-like, idealized boy, is realistic, from the crooked grin to the tousled headof hair.
MEDUSA, 1597 BY CARAVAGGIO The "Head of Medusa" executed by Caravaggio, in 1598, was commissioned as a cerimonial shield by Cardinal Francesco Maria Del Monte, the Medici family's agent in Rome, after seeing, on the painters studio, the first version - The Metula painting. The purpose of this commissioned was to symbolize the Grand Duke of Tuscany's courage indefeating
DAVID WITH THE HEAD OF GOLIATH, 1610 BY CARAVAGGIO David with the Head of Goliath, 1610 by Caravaggio. On May 1606 Caravaggio was accused of murder and fled from Rome to distant lands (Naples, Sicily, Malta) to escape the price that had been placed on his head. His self-portrait as Goliath's severed head, held by David his executioner, was sent to the papal court in 1610 as a kind ofpainted
THE INCREDULITY OF SAINT THOMAS, 1603 BY CARAVAGGIO The Incredulity of Saint Thomas, 1603 by Caravaggio. The Incredulity of Saint Thomas is without any accessories or any indication of setting. It is tensely concentrated, compact within a solid Romanesque archway formed by the outline of the four figures clustered intimatelytogether
THE ENTOMBMENT, 1603 BY CARAVAGGIO The Entombment is the sole painting of Caravaggio's maturity that gained unanimous critical acclaim, and it was much copied- no fewer than forty-four drawn, painted, or engraved copies are known, including one by Paul Cezanne, who, having never visited Rome, musthave made his
BEHEADING OF SAINT JOHN THE BAPTIST 1608 The Beheading of St. John the Baptist is Caravaggio's only surviving signed work; the 'f. michelan . . .' which is scrawled in the blood which flows from the Baptist's throat can be read either as 'fra michelan', in which case the work must date from after Caravaggio's appointment as a Knight of Obedience of the Order of St. John on 14 July 1608, or RECLINING BAPTIST, 1610 BY CARAVAGGIO Reclining Baptist, 1610 by Caravaggio. Reclining Baptist, believed to be Caravaggio's last painting, is barely known by comparison to his other pieces. This is due to disputes that arose after Caravaggio's death regarding the attribution of the piece as a work of the greatmaster.
THE SACRIFICE OF ISAAC, 1602 BY CARAVAGGIO The Sacrifice of Isaac, 1602 by Caravaggio. Although the pair of figures barely discernible in the right background may refer to the two young men who accompanied Abraham but were left at the foot of the mountain to wait while he sacrificed his son, other details do SAINT MATTHEW AND THE ANGEL 1602- BY CARAVAGGIO Saint Matthew and the Angel 1602- by Caravaggio. In this painting, the line at the bottom left is due to a crack in the photographic plate. At the time of Caravaggio's commission for the two lateral paintings the commission for the altarpiece still belonged to the mediocre and extremely old Flemish sculptor, Jacob Cobaert; but apparently hisSLEEPING CUPID 1608
Sleeping cupid 1608 - by Caravaggio. The subject of Sleeping Cupid, his quiver and arrows discarded, his bow-string slackened, usually signified the abandonment of worldly pleasures: Marini has even speculated that the present picture may have been commissioned by a Knight of Justice of the Order of St. John as a reminder of his vow ofchastity.
RECLINING BAPTIST, 1610 BY CARAVAGGIO Reclining Baptist, 1610 by Caravaggio. Reclining Baptist, believed to be Caravaggio's last painting, is barely known by comparison to his other pieces. This is due to disputes that arose after Caravaggio's death regarding the attribution of the piece as a work of the greatmaster.
THE CRUCIFIXION OF ST. ANDREW, 1607 BY CARAVAGGIO The Crucifixion of St. Andrew, 1607 by Caravaggio. Courtesy of www.Caravaggio.org. St Andrew was patron saint of Constantinople. From that city his body had been snatched by crusaders and brought to Amalfi, just one bay south of Naples. The Count of Benevente, viceroy to Philip III, King of Spain, was charged by his royal master torenovate the
INSPIRATION OF SAINT MATTHEW 1602 THE INSPIRATION OF SAINT MATTHEW is Caravaggio's second version of the subject, was the last in the series, although it is over the high altar and therefore central in location as well as meaning. Unlike the lateral canvases, it is visible from all points in the chapel, a THE CARDSHARPS, 1594 BY CARAVAGGIO The Cardsharps, 1594 by Caravaggio. In The Cardsharps, all sights are fixed. Whatever's blocked from view, or turned away from view, is stuck that way. Nothing the viewer can do, nothing the picture can do, will show more, or less, of anything. But the limits of an art can beits powers.
NATIVITY WITH ST FRANCIS AND ST LAWRENCE 1609 Nativity with st francis and st lawrence 1609 - by Caravaggio. The Nativity with Saint Francis and Saint Lawrence is the only known work associated with Caravaggio's brief stay in Palermo and is much more traditional than the Messina Adoration, not only because the Christ Child is alone on the ground while the Madonna sits on a low seat (amore
THE SACRIFICE OF ISAAC, 1602 BY CARAVAGGIO The Sacrifice of Isaac, 1602 by Caravaggio. Although the pair of figures barely discernible in the right background may refer to the two young men who accompanied Abraham but were left at the foot of the mountain to wait while he sacrificed his son, other details do JOHN THE BAPTIST 1602 John the baptist 1602 - by Caravaggio. Courtesy of www.Caravaggio.org. The most likely provenance for this iconographically unusual picture was first reconstructed by Denis Mahon (1955), who argues that it was commissioned by Ciriaco Mattei, was given by him to his son, Giovanni Battista, who, interestingly enough, bore the same name as the THE ADORATION OF THE SHEPHERDS, 1609 BY CARAVAGGIO The Adoration of the Shepherds, 1609 by Caravaggio. In The Adoration of the Shepherds, the scene is another dark interior, with a beam of light cutting across from the left, causing the figures to emerge from the general obscurity. The composition is ingenious but unobtrusive. Its effect is of restraint, tranquility, and calm immutability. SAINT MATTHEW AND THE ANGEL 1602- BY CARAVAGGIO Saint Matthew and the Angel 1602- by Caravaggio. In this painting, the line at the bottom left is due to a crack in the photographic plate. At the time of Caravaggio's commission for the two lateral paintings the commission for the altarpiece still belonged to the mediocre and extremely old Flemish sculptor, Jacob Cobaert; but apparently his DENIAL OF SAINT PETER 1610 Denial of saint peter 1610 - by Caravaggio. The episode from Mark XIV:66-72 in which Peter, soon after Christ's arrest, is challenged by the serving maid of Caiaphas, the High Priest, to admit his identity as one of Christ's disciples, was not often depicted during the Counter Reformation.* Home
* Masterpieces of Caravaggio * Boy with a Basket of Fruit, 1593 * The Cardsharps, 1594* Bacchus, 1596
* Basket of Fruit, 1596* Medusa, 1597
* Jupiter, Neptune and Pluto, 1597 * Penitent Mary Magdalene, 1597 * The Rest on the Flight into Egypt, 1597 * John the Baptist, 1598 * The Fortune Teller, 1599 * Judith Beheading Holofernes, 1599 * The Calling of Saint Mathew, 1600 * The Conversion of Saint Paul, 1600 * Martyrdom of Saint Matthew, 1600 * The Crucifixion of Saint Peter, 1601 * The Taking of Christ, 1602 * Youth with a Ram, 1602 * The Entombment, 1603 * The Sacrifice of Isaac, 1603 * The Death of the Virgin, 1603 * The Incredulity of Saint Thomas, 1603 * The Madonna of the Grooms, 1605 * The Seven Works of Mercy, 1607 * The Crucifixion of St. Andrew * The Decapitation of Saint John the Baptist, 1607 * Salome with the Head of John the Baptist, 1607 * Christ at the Column, 1607 * The Flagellation of Christ, 1607 * The Adoration of the Shepherds, 1609 * Reclining Baptist, 1610 * David with the Head of Goliath, 1610 * Caravaggio Biography * Selected Caravaggio PaintingsCARAVAGGIO
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CARAVAGGIO AND HIS PAINTINGS MICHELANGELO MERISI DA CARAVAGGIO was probably the most revolutionary artist of his time, for he abandoned the rules that had guided a century of artists who had idealized both the human and religious experience. He can be said almost single-handedly to have created theBaroque style.
CARAVAGGIO was born in Milan, and his father worked as an architect for the Marchese of Caravaggio; his mother Lucia, was from a family in the same district. In 1576, to escape a plague in Milan, the family moved to Caravaggio; here his father died in 1577 and his mother in 1584. In 1584, he was apprenticed, for four years to Lombard painter, Simone Peterzano; upon the apprenticeship ending, he remained in the area. Here he became familiar with works of Leonardo da Vinci, Michelangelo
, Titian ,
Raphael and other High Renaissance masters , which were popular in the area. In 1592, Caravaggio fled Milan, and moved to Rome; he arrived with very little, and did not have money upon his arrival to the city. A few months after the move, he began working for Giuseppe Cesari, where he did work painting flowers and fruit in his factory. He painted several pieces during this period, and his work ended with Cesari, because of a piece he painted, while suffering from a serious illness. In these works, he depicted signs of realism, which he would focus onduring his career.
Following the end of his working career with Cesari, in 1954 Caravaggio was determined to make his own way and make a name for himself. With very little money, it was during this period that he made several friendships with _Prospero Orsi_, _Onorhio Longhi_, and _Mario Minniti_, all who worked in the art world. These men not only introduced Caravaggio to others in the art world, but also helped him put his work out in front of others, to gain more notoriety in thisfield.
The Fortune Teller was his first major piece; it showed Mario being cheated on by a gypsy girl. This was a new style to Roman artists, and for this reason, the style helped pave the way for changes that came in Roman art for several years to come. However, this was sold for a very low price; his first major piece, was The Cardsharps , which is considered his first masterpiece. It became an extremely popular piece, and today, there are over 50 of these pieces in circulation. These, and several other pieces he created during this period, helped pave the way for his career, and helped create a name for him in the art world, as he began to forge friendships and meet more local artists, who were highly regarded in Roman art forms. With the first painting he did, which depicted religious themes, Caravaggio returned to a realism style of painting; During this period, he created a number of paintings with religious under tones; the first being that of Penitent Mary Magdalene . In these, and in the future work he created, the realism or naturalism, which he became most well known and famous for, were extremely prominent in the pieces that were created during this period of time. Not only were his realist pieces a shift from the natural in this region, but the lack of preparation in style, and the Venetian practice of working in oils, were some of the aspects that gave his pieces character, and that ever popular style for which Caravaggio is most known for. From about 1600 to 1606, Caravaggio was quite possibly known as the most famous painter in Rome. He was contracted for many works, including to to the work in the Contarelli Chapel, which was in the Church of San Luigi dei Francesi. Although most of his critics noted him as a great artistic visionary of the time, many believed he was not reliable, and the constant change in style, created opposition formany of his works.
Following this commission he received at the chapel, he was also later given several contracts to do work throughout several chapels in Rome, as well as in neighboring cities. For the most part, these new paintings, and each new job he took, helped to increase the fame which Caravaggio was experiencing during the time; however, there were a few of his pieces that were rejected for the foreign style, and the distinct style which was not well appreciated by all in the art world during this period. To some, the dramatic intensity in the work he created, seemed quite vulgar, and was well beyond what was acceptableduring his time.
Many of his paintings dealt with death, as well as sexual depictions, which the church would not stand for; for this reason, many of the pieces that he created during this period, were viewed as vulgar. Some of the works he is most well known for during this period include: The Madonna of the Grooms , and the Death of the Virgin , which was commissioned in 1601. Although many rejected his work, the theme and styles he chose to work with, meant his work was also visionary for the time, as no other artists were willing to complete similar depictions. Painters' lives seldom generate glamour, scandal or romance on anything like the same scale as literary biography. Van Gogh was one exception. Picasso was another. Caravaggio is a third. Caravaggio led an extremely notorious life; he was well known for constantly brawling and getting into arguments, not only with peers in the art world, but also with police and other authorities. He had an extensive trial record, and an extensive police record, due to the disorderly conduct, and the manner in which he conducted himself when in public. In 1606 he killed Ranuccio Tomassoni; for this, he was outlawed from Rome, and he made his way to live in Naples. Here he was protected by the Colonna family; once the most famous painter in Rome, Caravaggio was now the most famous painter in Naples. The connection he had with the Colonna family, allowed him to get hired for a series of commission works, that were to be done throughout a series of churches in Naples. In 1608 he was again arrested, for a brawl, and was exiled to Sicily. After a few more moves, and the return to Naples, after living in Sicily for nine months, Caravaggio passed away in 1910. Caravaggio played a key role in defining 17th century Italian art. Caravaggism had profound effects on the art world and artists that were directly influenced by Caravaggio include Peter Paul Rubens, Rembrandt
, Vermeer
, and Diego Velazquez.
MASTERPIECES OF CARAVAGGIO*
The Calling of Saint Mathew*
Inspiration of Saint Matthew*
Martyrdom of Saint Matthew*
Bacchus
*
The Crucifixion of Saint Peter*
The Decapitation of Saint John the Baptist*
The Flagellation of Christ*
Amor Victorious
*
The Rest on the Flight into Egypt*
The Sacrifice of Isaac*
The Cardsharps
*
Christ at the Column*
The Entombment
*
The Incredulity of Saint Thomas*
Judith Beheading Holofernes*
The Calling of Saint Mathew*
Inspiration of Saint Matthew*
Martyrdom of Saint Matthew*
Bacchus
*
The Crucifixion of Saint Peter*
The Decapitation of Saint John the BaptistOur Etsy Store
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