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Caravaggio
Cavalier Malta
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mk261 Florence, Palatina Gallery, Pitti Palace.
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Caravaggio
Portable head David Goliath
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mk261 canvas 125.5 x 101 cm Museum Verghese
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Caravaggio
Christ in the Garden
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154 x 222 cm Formerly Kaiser-Friedrich-Museum, Berlin The painting was destroyed in the Second World War, it is known to us today through extant black and white photographs. This was a wonderful composition that caught the instant in which Christ awakes the sleeping apostles. The construction of the scene descends toward the lower right corner. St Peter in particular is shown in a classical position (which has been called Carracci-like), with the containment that characterizes this moment in the artist's career. Author: CARAVAGGIO Title: Christ in the Garden , 1551-1600 , Italian Form: painting , religious
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Caravaggio
St John the Baptist
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94 x 131 cm Galleria Nazionale d'Arte Antica, Rome In around 1605 Caravaggio dealt with St. John the Baptist in two splendid compositions, one in the Kansas City Gallery, the other in the Galleria Nazionale di Arte Antica in Rome. The former is laid out vertically, the latter horizontally. Both lend themselves to a modernistic reading aimed at pointing out a certain air between contempt and arrogance. In effect what we are dealing with here are splendid exercises in modeling the body through the play of light and shadow. In the version now in Kansas City, the figure is set before a dense curtain of plants; in that in Rome, there is only the trunk of a cypress tree, on the left. Both are admirable feats of painting, and it is understandable that collectors competed with each other for the artist's works. Caravaggio in turn knew how to make apparently uninteresting religious themes into paintings desirable even for his aristocratic patrons.
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Caravaggio
St Francis c. 1606 Oil on canvas
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125 x 93 cm Galleria Nazionale d'Arte Antica, Rome The founder of the Franciscan Order was the first person to experience the miracle of stigmatization of his own body. In other words, he was marked out by Christ's wounds. Here he is reduced to the ideal state of penance in the wilderness - a state equally valid for saints and pious people. Caravaggio shows no sign of reinterpreting the story unconventionally. His rather traditional approach may derive from the fact that the composition is probably a commission from the papal family. They owned the township known as Carpineto, from where an almost identical second version, stored at present in the Palazzo Venezia, Rome, originated. Stylistically, the painting is very closely related to the Brera Supper in Emmaus, which was probably painted in Latium
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Caravaggio
St Jerome 1607 Oil on canvas
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117 x 157 cm St John Museum, La Valletta This picture of the holy scholar was made for Ippolito Malaspina, a Maltese knight whose coat of arms is on the wooden panel to the right. He was connected by marriage to Caravaggio's patron Ottavio Costa and was a confidant of the Grand Master, who may have been used as the model for the saint (similarly Van Dyck was to use the sister of the Queen of England as model for the Madonna). The saint does indeed look like the knight in a recently discovered portrait by Caravaggio, who has been identified by some as Wignacourt himself. The composition is planned in terms of triangles. One rises from the table to the saint's head, another has its apex at the cardinal's hat on the wall to the left, a third recedes to the bedstead at the back on the right. This simple design helps convey an idea of simplicity. St Jerome has no halo, his workbench is rudimentary, he does not own any folios, he has one candle to see by, a crucifix to meditate on, a stone to beat against his chest, and a skull to remind him of his mortality. He is partly naked because he lives an eremitical life in the desert of Judaea. A steady light shines on his torso and picks out the red cloak round his legs. The source of the light is outside the picture, and can be interpreted as Christ, Light of the World
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Caravaggio
Magdalene
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122,5 x 98,5 cm Galleria Doria-Pamphili, Rome This picture and The Rest on the Flight into Egypt must have been painted around the same time, for the same girl sat for the Magdalene and the Madonna. On this occasion, however, there are none of the usual signs of a religious scene such as a halo. A young girl, seen from above, is seated on a low stool in one of Caravaggio's favourite cave-like settings, with a triangle of light high up on the wall behind her. Discarded jewellery - a string of pearls, clasps, a jar (perhaps holding precious ointment) - lies on the floor. The girl's hair is loose, as if it has just been washed. Her costume, consisting of a white-sleeved blouse, a yellow tunic and a flowery skirt, is rich. Bellori, who gives a careful description of this picture, which he came across in the collection of Prince Pamphilj, regards its title as an excuse; for him it is just a naturalistic portrayal of a pretty girl. This seems to show a willful failure to understand Caravaggio's intention or the wishes of the man who commissioned it, Monsignor Petrignani. The repentant Mary Magdalene, like the repentant Peter, was a favourite subject of Counter-Reformation art and poetry, which valued the visible expression of the state of contrition 'the gift of tears'. Caravaggio's heroine is sobbing silently to herself and a single tear falls down her cheek. She is, as it were, poised between her past life of luxury and the simple life she will embrace as one of Christ's most faithful followers. It is a sign of the painter's skill that he makes this inner conflict moving at the same time as he makes its representation delectable. Although nothing painted in the sixteenth century is as emotive as the statue in wood of the haggard saint carved by Donatello (c.1456-60), by the time Titian's bare-breasted Magdalene of the 1530s (Palazzo Pitti, Florence) had become the more modest and affecting Magdalene of the 1560s, there had been a move in religious sensibility towards the humble and pathetic, a change which thirty years later Caravaggio could take for granted
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Caravaggio
St Catherine of Alexandria
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173 x 133 cm Thyssen-Bornemisza Collection, Madrid The painting formerly belonged to Cardinal Del Monte, one of the artist's patrons. Here we see a single female figure in an interior devoid of architectural allusions. The image appears with a boldness and an immediacy that combine the nobility of the subject (St Catherine was a king's daughter) with the almost plebeian pride of the model (no doubt a Roman woman of the people, who appears on other paintings of the artist, too). The breadth of conception and realization, and the perfect mastery of a very difficult composition (the figure and objects completely fill the painting, in a subtle play of diagonals) are striking. Caravaggio here chose a "grand" noble approach that heralds the great religious compositions he would soon do for San Luigi dei Francesi. The extraordinary virtuosity in the painting of the large, decorated cloth is absorbed as an integral part of the composition. This is something his followers would not often succeed in doing, for they frequently dealt with the single components of the painting individually, with adverse effects on the unity of the whole.
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Caravaggio
The Martyrdom of St Matthew
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1599-1600 Oil on canvas, width of detail: 90 cm Contarelli Chapel, San Luigi dei Francesi, Rome A boy who acts as altar-boy to the old man, whose service has been interrupted, flees screaming to the right. He is one of those expressive studies of emotion which, like the Medusa in Florence, have contributed greatly to Caravaggio's renown. Author: CARAVAGGIO Title: The Martyrdom of St Matthew (detail) , 1551-1600 , Italian Form: painting , religious
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Caravaggio
David
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110 x 91 cm Museo del Prado, Madrid This painting addresses the subject of David and Goliath, which the artist repeatedly dealt with later in his career, with a perfect linearity of means and intelligence of iconographic invention. As in the early Renaissance, David is shown as the adolescent who triumphs not by his strength, but by his power of character and his faith. The oblique pose of the figure (David stands partly parallel to the picture plane) is constructed with admirable skill. Caravaggio has a particular importance for Spain, for he originated the realist and 'tenebrist' style of painting that enjoyed such development and popularity there in the work of such artists as Ribera and Zurbar?n. This mature work demonstrates the fundamentals of his art: an emphatic solidity created by a harsh contrast of light and shade; the immediacy created by staging the action right in the foreground, and eliminating all superfluous space around it (conventionally, David would have been given room to stand up, so to speak); the elimination of decoration, such as colour or elegant posture, in order to concentrate on the drama alone
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Caravaggio
The Entombment
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1602-03 Oil on canvas, width of detail: 30 cm Pinacoteca, Vatican The detail shows the head of Mary
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Caravaggio
card-players, c
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1590-95
courtesy of the fogg art museum, harvard university, cambridge, mass
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Caravaggio
de sju barmhartighetsgarningarna
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Caravaggio
The Tooth Drawer
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Technique Oil on canvas
Dimensions 139.5 ?? 194.5 cm
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Caravaggio
David mit dem Haupt des Goliath
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Medium Oil on poplar
Dimensions Expression error: Missing operand for *90.5 ?? 116 cm
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Caravaggio
david med goliats huvud
new23/Caravaggio-787893.jpg
cirka 1606
pa poppeltra 116x90.5cm
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Caravaggio
madonnan med rosenkransen
new23/Caravaggio-997473.jpg
cirka 1606
pa duk 249x364cm
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Caravaggio
Dornenkronung Christi
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um 1602/1604
Oil on canvas
127 x 166 cm
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Caravaggio
Gemalde der Contarelli
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Date 1599-1600
Medium English: Oil on canvas
Deutsch: Öl auf Leinwand
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Caravaggio
Saint Jerome Writing
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1605-1606
Oil on canvas
112 X 157 cm (44.09 X 61.81 in)
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Caravaggio
Hl. Hieronymus beim Schreiben
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1605-1606
Oil on canvas
112 X 157 cm (44.09 X 61.81 in)
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Caravaggio
Saint Jerome Writing
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Date 1605-1606
Medium Oil on canvas
Dimensions 112 ?? 157 cm (44.1 ?? 61.8 in)
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Caravaggio
Hieronymus beim Schreiben
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Date 1605-1606
Medium Oil on canvas
Dimensions 112 ?? 157 cm (44.1 ?? 61.8 in)
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Caravaggio
Portrait of Pope Urban VIII.
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1599(1599)
Oil on canvas
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Caravaggio
Neptune and Pluto
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between 1597(1597) and 1600(1600)
Medium Ceiling painting in oil
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Caravaggio
The Deposition of Christ
new24/Caravaggio-346894.jpg
The Deposition of Christ, oil on canvas, 1602 - 04, Pinacoteca, Vatican Museums, Vatican City.
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Caravaggio
Youth with a Ram
new24/Caravaggio-598654.jpg
ca. 1602(1602).
Medium Oil on canvas.
Dimensions 132 x 97 cm (52 x 38.2 in).
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Caravaggio
Deposition of Christ
new25/Caravaggio-648655.jpg
oil on canvas, 1602 - 04
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Caravaggio
Johannes der Taufer
new25/Caravaggio-755639.jpg
1602(1602).
Medium Oil on canvas.
Dimensions 132 x 97 cm (52 x 38.2 in).
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Caravaggio
Saint John the Baptist
new25/Caravaggio-864579.jpg
1602(1602).
Medium Oil on canvas.
Dimensions 132 x 97 cm (52 x 38.2 in).
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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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