The Incredulity of Saint Thomas - Caravaggio
Basket of Fruit, by Caravaggio; Medusa, 1597 by Caravaggio; Jupiter, Neptune and Pluto, by Caravaggio; Penitent Mary Magdalene, by Caravaggio; The Rest on the Flight into Egypt, by Caravaggio; John the Baptist, by Caravaggio; The Fortune Teller, by Caravaggio; Judith Beheading Holofernes, by Caravaggio; The Calling of Saint Matthew, by Caravaggio
Medusa, 1597 by Caravaggio
Caravaggio painted two versions of the Head of Medusa. The first in 1596 and the other presumably in 1597/8. The first version also known as Murtula, due to the poet who wrote about it (48x55 cm) is signed Michel A F, (Michel Angelo Fecit) and …
Judith Beheading Holofernes, 1599 by Caravaggio
The influence of Da Vinci is apparent in Caravaggio's Judith Beheading Holofernes. Here, the grotesquely intense face of the old crone holding the bag for Holofernes's head is undeniably evocative of da Vinci's caricatures.
Christ at the Column, 1607 by Caravaggio
Stating that Caravaggio used sombre tones and introduced the contrast between dark and light in the visual arts is however an inadequate description of the genius that he was. Caravaggio painted his Christ at the Column in Naples in 1606-1607, just after he had left Rome.
Jupiter, Neptune and Pluto, 1597 by Caravaggio
Caravaggio Painting Gallery Jupiter, Neptune and Pluto, 1597 by Caravaggio Jupiter, Neptune and Pluto was ignored until 1969, when an Italian scholar rediscovered it, and critical opinion of it is still divided.
Narcissus, 1599 by Caravaggio
Narcissus, 1599 by Caravaggio The story of Narcissus comes from Greco-Roman mythology. The most popular version is from Ovid's Metamorphosis 3.5, from which Caravaggio's interpretation is taken.
The Fortune Teller, 1599 by Caravaggio
Caravaggio Painting Gallery The Fortune Teller, 1599 by Caravaggio According to Mancini, Caravaggio painted this picture while he was staying with Monsignor Petrig-nani and sold it cheap - for eight scudi.
The Calling of Saint Matthew, 1600 by Caravaggio
Caravaggio may well have been familiar with earlier Netherlandish paintings of money lenders or of gamblers seated around a table like Saint Matthew and his associates. Caravaggio represented the event as a nearly silent, dramatic narrative.
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 the setting.
Bacchus, 1596 by Caravaggio
Bacchus, 1596 by Caravaggio Despite recent scholarly efforts to establish the Bacchus as an allegory - of the sense of taste, or even of Christ - the painting remains sufficient and convincing as simply the portrayal of a boy dressed as the ancient god of wine.