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  • noun

Synonyms for Caravaggio

Italian painter noted for his realistic depiction of religious subjects and his novel use of light (1573-1610)

References in periodicals archive ?
Richard Spear draws our attention to the fact that high prices were not an incentive for painters to adopt a Caravaggesque style; rather, the Caravaggisti competed for altarpieces and easel paintings in awareness of their economic disadvantages of being Caravaggio's followers (205, 209).
After a discussion of "Historical Background" (little interest in "context" here), one chapter rushes through "International Trends" between 1600 and 1625 (Mannerists, Pre-Rembrandtists, Caravaggisti) to get to fundamental chapters on Hals and Rembrandt, followed by a chapter on "Rembrandt's Pupils and Followers," three chapters on realist genre, landscape, and marine painting, and a chapter on "Italianate and Classical Painting." Portraiture, Architectural Painting, and Still Life conclude the survey for 1600 to 1675.
As it raises its profile with its upcoming show of the northern Caravaggisti, the museum is determined to keep its ties to the city
Exactly this mode of transfiguration may be seen in Rembrandt, one of the true caravaggisti. In his painting "Saskia as Flora," Saskia is unmistakably Saskia, but she is also the flower goddess, her identity as Rembrandt's wife not swamped but penetrated by her other identity.
Recent times have seen both collector and critical interest in the Caravaggisti increase, though the preference is for work produced before 1610
Works carry estimates ranging from under 1,000 [pounds sterling] to 600,000 [pounds sterling], and on offer at the top end is Sewell's pride and joy, Blowing Hot, Blowing Cold by Matthias Stom (sometimes called Stomer)--one of the many Dutch Caravaggisti who worked in Rome and Naples in the early 17th century (Fig.
While most Italian collectors of Old Masters tend to confine themselves to amassing works of a single--usually local --school of painting, Pizzi's bold but nuanced thematic sweep embraces generations of Caravaggisti, not only from across Italy and the Spanish Kingdom of Naples but also from Northern Europe too.
As Lidia began collecting the work of young artists, her father turned his attention to those long dead, acquiring predominantly gold-ground paintings and the Caravaggisti, along with the medieval sculpture in the chapel.
Dirck van Baburen (1592/93-1624) is, together with Hendrick ter Brugghen and Gerrit van Honthorst, one of the key figures in the group of artists known as the Dutch Caravaggisti. All three came from Catholic Utrecht and travelled to Rome in the early 17th century; there, they studied the work of Caravaggio and, equally importantly, that of the first generation of Caravaggio's followers, notably Bartolomeo Manfredi and Orazio Gentileschi.
With a series of aptly chosen canvases from the artist's youth, the Washington exhibition neatly demonstrates how Lievens cobbled together his Leiden manner, combining what he had learned from Lastman with the influence of the Utrecht Caravaggisti, especially Gerard van Honthorst, to achieve a trenchant synthesis well in advance of Rembrandt, who needed several years to catch up.
The Van Gogh Museum's enjoyable exhibition comparing Rembrandt with Caravaggio appropriately opens with an eloquent demonstration that the inspiration for Rembrandt's chiaroscuro and unidealised models, for instance in his St Paul Writing (1630), can be traced back through the Dutch Caravaggisti, such as Hornthorst's Mocking of Christ, to Caravaggio, whose Martyrdom of St Andrew (1607) shows the saint with a sunburnt neck in a raking fight that casts deep shadows over his ribcage.