Michelangelo Merisida Caravaggio, known as simply Caravaggio, was an Italian painter active in Rome for most of his artistic life. During the final four years of his life he moved between Naples, Malta, and Sicily until his death. His paintings have been characterized by art critics as combining a realistic observation of the human state, both physical and emotional, with a dramatic use of lighting, which had a formative influence on Baroque painting.
Amor Vincit Omnia is a painting by the Italian Baroque artist Caravaggio.
Giovanni Baglione was an Italian Late Mannerist and Early Baroque painter and art historian. He is best remembered for his acrimonious and damaging involvement with the slightly younger artist Caravaggio and his important collection of biographies of the other artists working in Rome in his lifetime, although there are many works of his in Roman churches and galleries and elsewhere.
The Conversion on the Way to Damascus is a work by Caravaggio, painted in 1601 for the Cerasi Chapel of the church of Santa Maria del Popolo, in Rome. Across the chapel is a second Caravaggio depicting the Crucifixion of Saint Peter. On the altar between the two is the Assumption of the Virgin Mary by Annibale Carracci.
The Crucifixion of Saint Peter is a work by Michelangelo Merisi da Caravaggio, painted in 1601 for the Cerasi Chapel of Santa Maria del Popolo in Rome. Across the chapel is a second Caravaggio work depicting the Conversion of Saint Paul on the Road to Damascus (1601). On the altar between the two is the Assumption of the Virgin Mary by Annibale Carracci.
The Calling of Saint Matthew is a painting by Caravaggio, depicting the moment at which Jesus Christ inspires Matthew to follow him. It was completed in 1599–1600 for the Contarelli Chapel in the church of the French congregation, San Luigi dei Francesi in Rome, where it remains. It hangs alongside two other paintings of Matthew by Caravaggio, The Martyrdom of Saint Matthew and The Inspiration of Saint Matthew (1602).
The Martyrdom of Saint Matthew is a painting by the Italian master Michelangelo Merisi da Caravaggio. It is located in the Contarelli Chapel of the church of the French congregation San Luigi dei Francesi in Rome, where it hangs opposite The Calling of Saint Matthew and beside the altarpiece The Inspiration of Saint Matthew, both by Caravaggio. It was the first of the three to be installed in the chapel, in July 1600.
Caravaggio created one of his most admired altarpieces, The Entombment of Christ, in 1603–1604 for the second chapel on the right in Santa Maria in Vallicella, a church built for the Oratory of Saint Philip Neri. A copy of the painting is now in the chapel, and the original is in the Vatican Pinacoteca. The painting has been copied by artists as diverse as Rubens, Fragonard, Géricault and Cézanne.
The Sacrifice of Isaac is the title of two paintings from c. 1598 - 1603 depicting the sacrifice of Isaac. The paintings could be painted by the Italian master Caravaggio (1571–1610) but there is also strong evidence that they may have been the work of Bartolomeo Cavarozzi, a talented early member of the Caravaggio following who is known to have been in Spain about 1617–1619.
The Incredulity of Saint Thomas is a painting of the subject of the same name. It is one of the most famous paintings by the Italian Baroque master Caravaggio, c. 1601-1602. There are two autograph versions of Caravaggio's The Incredulity of Saint Thomas, an ecclesiastical "Trieste" version for Girolamo Mattei which is now in a private collection and a secular "Potsdam" version for Vincenzo Giustiniani that later entered the Royal Collection of Prussia, survived the Second World War unscathed, and can now be admired in the Palais at Sanssouci, Potsdam.
John the Baptist was the subject of at least eight paintings by the Italian Baroque artist Michelangelo Merisi da Caravaggio (1571–1610).
The Contarelli Chapel or Cappella Contarelli is located within the church of San Luigi dei Francesi in Rome. It is famous for housing three paintings on the theme of Saint Matthew the Evangelist by the Baroque master Caravaggio. The paintings were Caravaggio's first major public commission and one that cemented his reputation as a master artist. The chapel commemorates the French cardinal Matthieu Cointerel.
The Cerasi Chapel or Chapel of the Assumption is one of the side chapels in the left transept of the Basilica of Santa Maria del Popolo in Rome. It contains significant paintings by Michelangelo Merisi da Caravaggio and Annibale Carracci, two of the most important masters of Italian Baroque art, dating from 1600–1601.
The Crowning with Thorns is a painting by the Italian painter Michelangelo Merisi da Caravaggio. Made probably in 1602/1604 or possibly around 1607, it is now located in the Kunsthistorisches Museum, Vienna. It was bought in Rome by the Imperial ambassador, Baron Ludwig von Lebzelter in 1809, but did not arrive in Vienna until 1816.
Portrait of Alof de Wignacourt with his Page is a painting by the Italian master Caravaggio, in the Louvre of Paris.
Events from the year 1601 in art.
The Crucifixion of St. Peter is a fresco painting by the Italian Renaissance master Michelangelo Buonarroti. It is housed in the Cappella Paolina, Vatican Palace, in the Vatican City, Rome. It is the last fresco executed by Michelangelo.
The Conversion of Paul the Apostle is an event in the life of Paul the Apostle.
Giacomo Sannesio was and Italian Catholic cardinal, prominent art collector and patron of early 17th-century artists.
The Assumption of the Virgin by Annibale Carracci is the altarpiece of the famous Cerasi Chapel in the church of Santa Maria del Popolo in Rome. The large panel painting was created in 1600–1601. The artwork is somewhat overshadowed by the two more famous paintings of Caravaggio on the side walls of the chapel: The Conversion of Saint Paul on the Road to Damascus and The Crucifixion of Saint Peter. Both painters were important in the development of Baroque art but the contrast is striking: Carracci's Virgin glows with even light and radiates harmony, while the paintings of Caravaggio are dramatically lit and foreshortened.
