Scheda in fase di compilazione
Scheda in fase di compilazione - 17214
Scheda in fase di compilazione
Scheda in fase di compilazione - 17210
Scheda in fase di compilazione
Scheda in fase di compilazione - 17211
Scheda in fase di compilazione
Scheda in fase di compilazione - 17213
Madonna del Rosario
Madonna del Rosario - 9964
St Jerome
St Jerome - 11897
Painted by Caravaggio at the workshop of Cavalier D'Arpino. The sick basin, characterised by pallor, is actually a self-portrait of the painter (Caravaggio probably used a mirror to portray himself). A Michelangelo-esque pose is mentioned. The realisation of the natural elements is masterly; the work is also rich in symbolic references (mythological, Christian...)
Painted by Caravaggio at the workshop of Cavalier D'Arpino. The sick basin, characterised by pallor, is actually a self-portrait of the painter (Caravaggio probably used a mirror to portray himself). A Michelangelo-esque pose is mentioned. The realisation of the natural elements is masterly; the work is also rich in symbolic references (mythological, Christian...) - 514
Painted by Caravaggio at the workshop of Cavalier D'Arpino. The sick basin, characterised by pallor, is actually a self-portrait of the painter (Caravaggio probably used a mirror to portray himself). A Michelangelo-esque pose is mentioned. The realisation of the natural elements is masterly; the work is also rich in symbolic references (mythological, Christian...).
Painted by Caravaggio at the workshop of Cavalier D'Arpino. The sick basin, characterised by pallor, is actually a self-portrait of the painter (Caravaggio probably used a mirror to portray himself). A Michelangelo-esque pose is mentioned. The realisation of the natural elements is masterly; the work is also rich in symbolic references (mythological, Christian...). - 515
The painter tells the myth of Narcissus who fell in love with his own reflection. Caravaggio succeeds in bringing to life an almost perfectly double figure. Narcissus' arched arms follow the course of the canvas, and his stooped profile suggests a yearning and suffering gaze.
The painter tells the myth of Narcissus who fell in love with his own reflection. Caravaggio succeeds in bringing to life an almost perfectly double figure. Narcissus' arched arms follow the course of the canvas, and his stooped profile suggests a yearning and suffering gaze. - 508
The subject is a gypsy girl who reads the hand of a naive knight and attempts to steal the ring she wears on her hand. The pretty and unscrupulous gypsy catches the young man's attention with a mischievous smile. The painting represents a typical 'genre scene'.
The subject is a gypsy girl who reads the hand of a naive knight and attempts to steal the ring she wears on her hand. The pretty and unscrupulous gypsy catches the young man's attention with a mischievous smile. The painting represents a typical 'genre scene'. - 499
The subject is a gypsy girl who reads the hand of a naive knight and attempts to steal the ring she wears on her hand. The pretty and unscrupulous gypsy catches the young man's attention with a mischievous smile. The focal point of the painting is the meeting of the hands of the two characters. The painting represents a typical 'genre scene'.
The subject is a gypsy girl who reads the hand of a naive knight and attempts to steal the ring she wears on her hand. The pretty and unscrupulous gypsy catches the young man's attention with a mischievous smile. The focal point of the painting is the meeting of the hands of the two characters. The painting represents a typical 'genre scene'. - 500
We see a lascivious-looking boy holding a basket of fruit. Note the first hints of psychological realism. This painting probably belongs to the painter's first Roman phase, i.e. the period of his collaboration with Cavalier D'Arpino's workshop; here he painted mainly flowers and fruit.
We see a lascivious-looking boy holding a basket of fruit. Note the first hints of psychological realism. This painting probably belongs to the painter's first Roman phase, i.e. the period of his collaboration with Cavalier D'Arpino's workshop; here he painted mainly flowers and fruit. - 501
We see a lascivious-looking boy holding a basket of fruit. Note the first hints of psychological realism. This painting probably belongs to the painter's first Roman phase, i.e. the period of his collaboration with Cavalier D'Arpino's workshop; here he painted mainly flowers and fruit.
We see a lascivious-looking boy holding a basket of fruit. Note the first hints of psychological realism. This painting probably belongs to the painter's first Roman phase, i.e. the period of his collaboration with Cavalier D'Arpino's workshop; here he painted mainly flowers and fruit. - 502
Judith is depicted intent on beheading Holofernes with a scimitar, while the scene is witnessed by an old servant holding the drape containing the basket in which the head is to be kept. A painting from Caravaggio's 'dark period', in fact, the characters are plunged into darkness.
Judith is depicted intent on beheading Holofernes with a scimitar, while the scene is witnessed by an old servant holding the drape containing the basket in which the head is to be kept. A painting from Caravaggio's 'dark period', in fact, the characters are plunged into darkness. - 503
The figure has been stripped of the usual attributes that would allude to the saint's identity, including the 'cloak with camel hair', and the cross with reed sticks is barely visible. On the left stands the trunk of a cypress tree. The saint is leaning to the right while looking to the left and is wrapped in red drapery.
The figure has been stripped of the usual attributes that would allude to the saint's identity, including the 'cloak with camel hair', and the cross with reed sticks is barely visible. On the left stands the trunk of a cypress tree. The saint is leaning to the right while looking to the left and is wrapped in red drapery. - 511
Decapitated head of Goliath with open mouth and eyes. In the physiognomy of the defeated giant is a self-portrait of Caravaggio, which has provided the cue for numerous readings of the painting in a psychoanalytic key. Indeed, in the period to which the painting dates, the painter was in Naples awaiting a pardon from the Pope.
Decapitated head of Goliath with open mouth and eyes. In the physiognomy of the defeated giant is a self-portrait of Caravaggio, which has provided the cue for numerous readings of the painting in a psychoanalytic key. Indeed, in the period to which the painting dates, the painter was in Naples awaiting a pardon from the Pope. - 513
Detail of Judith's face (actually portraying Caravaggio's courtesan friend Filide Melandroni) caught in a grimace of disgust and reluctance as she kills Holofernes. She has no remorse in carrying out the murder as she is a symbol of divine Salvation.
Detail of Judith's face (actually portraying Caravaggio's courtesan friend Filide Melandroni) caught in a grimace of disgust and reluctance as she kills Holofernes. She has no remorse in carrying out the murder as she is a symbol of divine Salvation. - 504
Detail of Holofernes naked on the bed in the act of opening his mouth and eyes wide as Judith's sword slashes his neck from which a stream of blood spurts out.
Detail of Holofernes naked on the bed in the act of opening his mouth and eyes wide as Judith's sword slashes his neck from which a stream of blood spurts out. - 505
Bust of Judith seen in three-quarter view and profile of the old maid. The presence of the old maidservant holding a sack where Holofernes' head will end up serves to further emphasise Judith's beauty; it is no coincidence that Caravaggio has portrayed an ugly old maidservant next to the protagonist.
Bust of Judith seen in three-quarter view and profile of the old maid. The presence of the old maidservant holding a sack where Holofernes' head will end up serves to further emphasise Judith's beauty; it is no coincidence that Caravaggio has portrayed an ugly old maidservant next to the protagonist. - 506
Detail of the Virgin's face. The painting was rejected by the commissioners because the Child, who was too grown up to be portrayed completely nude, caused a scandal. Also scandalous were the Madonna's plunging neckline and the model chosen for her, Lena, who was a known prostitute.
Detail of the Virgin's face. The painting was rejected by the commissioners because the Child, who was too grown up to be portrayed completely nude, caused a scandal. Also scandalous were the Madonna's plunging neckline and the model chosen for her, Lena, who was a known prostitute. - 517
Detail of the Child crushing the serpent, symbol of original sin.The painting was rejected by the commissioners because the Child, who was too grown up to be portrayed completely nude, caused a scandal; also scandal were the Madonna's plunging neckline and the model chosen for the latter, Lena, who was a known prostitute.
Detail of the Child crushing the serpent, symbol of original sin.The painting was rejected by the commissioners because the Child, who was too grown up to be portrayed completely nude, caused a scandal; also scandal were the Madonna's plunging neckline and the model chosen for the latter, Lena, who was a known prostitute. - 518
The theme of Saint Jerome was one of the most frequent in Counter-Reformation painting. Caravaggio chose to depict the saint in a three-quarter profile on a horizontal format. Every element, such as the paper, the skull or the pen has a symbolic value in the painting.
The theme of Saint Jerome was one of the most frequent in Counter-Reformation painting. Caravaggio chose to depict the saint in a three-quarter profile on a horizontal format. Every element, such as the paper, the skull or the pen has a symbolic value in the painting. - 519
Detail of the table above which Saint Jerome is intent on working. On a white cloth, there are books and a skull, symbolising the transience of life.
Detail of the table above which Saint Jerome is intent on working. On a white cloth, there are books and a skull, symbolising the transience of life. - 520
The scene depicts the moment when the sword cuts the saint's neck. His figure seems to sink into the black background
The scene depicts the moment when the sword cuts the saint's neck. His figure seems to sink into the black background - 524
The subject is a gypsy woman who reads the hand of a naive knight and manages to steal the ring she wears on her hand. The scene of the painting is a typical 'genre scene' (scene of everyday life). The painting can also be read in a moralistic key with reference to the Parable of the Prodigal Son or as a theatre scene.
The subject is a gypsy woman who reads the hand of a naive knight and manages to steal the ring she wears on her hand. The scene of the painting is a typical 'genre scene' (scene of everyday life). The painting can also be read in a moralistic key with reference to the Parable of the Prodigal Son or as a theatre scene. - 497
The subject is a gypsy girl who reads the hand of a naive knight and attempts to take away the ring she wears on her hand. The boy's plump face perfectly reflects his naivety: even the feather sprouting from his hat seems to add to the softness of his character. The painting represents a typical 'genre scene'.
The subject is a gypsy girl who reads the hand of a naive knight and attempts to take away the ring she wears on her hand. The boy's plump face perfectly reflects his naivety: even the feather sprouting from his hat seems to add to the softness of his character. The painting represents a typical 'genre scene'. - 498
Adolescent St. John the Baptist with ram, cloak and staff, his attributes. The painting instead depicts a Good Shepherd, asking Cardinal Borghese, pastor of the Church, to forgive the painter, represented as a lost sheep returning to the Eucharistic vine.
Adolescent St. John the Baptist with ram, cloak and staff, his attributes. The painting instead depicts a Good Shepherd, asking Cardinal Borghese, pastor of the Church, to forgive the painter, represented as a lost sheep returning to the Eucharistic vine. - 522
Head of St. John the Baptist. Adolescent St. John the Baptist with ram, cloak and staff, his attributes. The painting depicts a Good Shepherd, asking Cardinal Borghese, pastor of the Church, to forgive the painter, represented as a lost sheep returning to the Eucharistic vine.
Head of St. John the Baptist. Adolescent St. John the Baptist with ram, cloak and staff, his attributes. The painting depicts a Good Shepherd, asking Cardinal Borghese, pastor of the Church, to forgive the painter, represented as a lost sheep returning to the Eucharistic vine. - 523
Saint Jerome is depicted translating the Bible from Hebrew into Latin. He is concentrating on his work, his right arm is stretched over the large open book, in his hand is the pen. His features are those of an old man, his grey beard is long, his forehead is wrinkled. Represented for his qualities as a man of learning.
Saint Jerome is depicted translating the Bible from Hebrew into Latin. He is concentrating on his work, his right arm is stretched over the large open book, in his hand is the pen. His features are those of an old man, his grey beard is long, his forehead is wrinkled. Represented for his qualities as a man of learning. - 521
Beheading of St John the Baptist
Beheading of St John the Baptist - 1626
Beheading of St John the Baptist (part)
Beheading of St John the Baptist (part) - 1627
St. Mary Magdalene, 17th-century dress, jewellery, pearl necklace, pearl earrings, gold necklace, gold bracelet, glass cruet
St. Mary Magdalene, 17th-century dress, jewellery, pearl necklace, pearl earrings, gold necklace, gold bracelet, glass cruet - 17212
The Deposition from the Cross
The Deposition from the Cross - 6930
Madonna and Child at her feet two pilgrim beggars
Madonna and Child at her feet two pilgrim beggars - 10187
Gypsy with turban and embroidered shirt reads the hand to a gentleman with hat with feather sword damask dress with cloak theft of ring deception smile
Gypsy with turban and embroidered shirt reads the hand to a gentleman with hat with feather sword damask dress with cloak theft of ring deception smile - 2924
Realism light sources ram ram possibly Isaac prefiguration of the passion of Christ St. John the Baptist nude ram's horns drapery
Realism light sources ram ram possibly Isaac prefiguration of the passion of Christ St. John the Baptist nude ram's horns drapery - 3022
Realism light sources ram ram perhaps Isaac foreshadowing the passion of Christ St. John the Baptist naked ram's horns
Realism light sources ram ram perhaps Isaac foreshadowing the passion of Christ St. John the Baptist naked ram's horns - 3024
Realism light sources ram ram perhaps Isaac foreshadowing the passion of Christ St. John the Baptist naked ram's horns
Realism light sources ram ram perhaps Isaac foreshadowing the passion of Christ St. John the Baptist naked ram's horns - 3018
Realism light sources ram ram perhaps Isaac foreshadowing the passion of Christ St. John the Baptist naked ram's horns
Realism light sources ram ram perhaps Isaac foreshadowing the passion of Christ St. John the Baptist naked ram's horns - 3019
Realism light sources ram ram perhaps Isaac foreshadowing the passion of Christ St. John the Baptist naked ram's horns
Realism light sources ram ram perhaps Isaac foreshadowing the passion of Christ St. John the Baptist naked ram's horns - 3016
Realism light sources ram's head perhaps Isaac foreshadowing the passion of Christ St. John the Baptist naked ram's horns
Realism light sources ram's head perhaps Isaac foreshadowing the passion of Christ St. John the Baptist naked ram's horns - 3017
Gypsy with turban and embroidered shirt reads the hand to a gentleman with hat with feather sword damask dress with cloak theft of ring deception smile
Gypsy with turban and embroidered shirt reads the hand to a gentleman with hat with feather sword damask dress with cloak theft of ring deception smile - 3040
S. John the Baptist with ram
S. John the Baptist with ram - 3041
St. Mary Magdalene wears a 17th century dress and is seated in an empty room with her head bowed. Below her she has abandoned all the riches represented by the jewellery
St. Mary Magdalene wears a 17th century dress and is seated in an empty room with her head bowed. Below her she has abandoned all the riches represented by the jewellery - 3054
Maddalena
Maddalena - 3055
Realism light sources ram's head perhaps Isaac foreshadowing the passion of Christ St. John the Baptist naked ram's horns
Realism light sources ram's head perhaps Isaac foreshadowing the passion of Christ St. John the Baptist naked ram's horns - 3046
Realism light sources ram's head perhaps Isaac foreshadowing the passion of Christ St. John the Baptist naked ram's horns
Realism light sources ram's head perhaps Isaac foreshadowing the passion of Christ St. John the Baptist naked ram's horns - 3047
Realism light sources ram's head perhaps Isaac foreshadowing the passion of Christ St. John the Baptist naked ram's horns
Realism light sources ram's head perhaps Isaac foreshadowing the passion of Christ St. John the Baptist naked ram's horns - 3048
Realism light sources ram's head perhaps Isaac foreshadowing the passion of Christ St. John the Baptist naked ram's horns
Realism light sources ram's head perhaps Isaac foreshadowing the passion of Christ St. John the Baptist naked ram's horns - 3049
Realism light sources ram's head perhaps Isaac foreshadowing the passion of Christ St. John the Baptist naked ram's horns
Realism light sources ram's head perhaps Isaac foreshadowing the passion of Christ St. John the Baptist naked ram's horns - 3050

Next page

End of content

No more pages to load