Yet Caravaggio's passion for gritty realism was adopted by followers of Caravaggism
as well--even those who lived far more pious (and less colorful) lives.
Perhaps not surprisingly, since it was painted about fifteen years after Caravaggio's death, the picture seems less an evocation of Caravaggism
than a conventional "academic" exercise of the period.
In short, he caused a revolution in painting, and words like Caravaggism
and Caravaggesque are still employed to describe the work of artists across Europe--from east to west and from Naples to the Netherlands--who adapted elements of his style.
Although important as the first effort to define Artemisia's oeuvre in the context of Caravaggism
and to distinguish her pictures from those of her father Orazio's, Longhi's treatment of Artemisia was still heavily informed by gendered assumptions about artistic value.
Manfredi perpetuated the theme of the thieving fortune-teller, but the story was changed by Simon Vouet, who later, having abandoned the Caravaggism
of his Roman period, became pre-eminent among the Parisian painters of his time, numbering Charles Lebrun and Pierre Mignard amidst his pupils.
And it was to Naples that Domenichino and Lanfranco were called to execute major fresco ensembles, and where Stanzione left behind his affinities with late Mannerism and aspects of Caravaggism
to take on the role of Guido Reni Napoletano.
What emerges is a clear preference not only for portraiture from all periods, but also for 16th-century Netherlandish painting, Caravaggism
(Italian, French and Dutch) and French neoclassicism.