Paintings By Caravaggio

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Doubting Thomas (John 20:27)
 
Also known as Saint Thomas Putting his Finger on Christ's Wound. Thomas is one of Jesus' twelve apostles. When Jesus shows himself to his followers after his resurrection, Thomas refuses to believe that this man really is his master. He demands evidence. Jesus shows him the wound caused by a Roman soldier's lance before his crucifixion. He invites Thomas to put his finger on it. Caravaggio shows that Thomas soon casts aside all doubt.
Almost identical copies of this painting and that of the Supper At Emmaus (included below) were found in a church in the French town of Loches, in 1999. After investigation, it was announced in 2006 that both works were authentic Caravaggios. Both contain the shield of arms of Philippe de Bethune, a friend of Caravaggio's and French ambassador in Rome. Records show that Bethune acquired four paintings from the painter. Caravaggio often made several copies of his own paintings.
   
Ecce Homo (John 19:5)
Pilate shows Jesus to the hostile Jewish crowd: "Behold the man!" Jesus has just been scourged and is crowned with thorns.
Some sources claim that Caravaggio used his own face as a model for Pilate's
   
Flight Into Egypt (Matthew 2:14)
 
An angel has warned Joseph about Herod's plans to have his newborn son killed. The Holy Family flees into Egypt; here they are shown resting. Their means of transport, a donkey, watches them from the background.
The music that Joseph holds in his hands was written by Noel Bauldewijn in honor of Mary: Quam pulchra es, How beautiful you are (based on a verse in the Song of Songs). The heavenly atmosphere is strengthened by the fact that the violin is played by an angel.
   
Martha And Mary Magdalene (John 11:5)
 
Also known as The Conversion of Mary Magdalen. The scene is not mentioned in any of the gospels. Tradition has it that Martha would often scold Mary for her vanity, symbolized by the mirror and comb.
   

St Matthew And The Angel (Matthew 10:3)
 
Matthew is portrayed in a remarkable pose – not as one would expect a devout evangelist to be depicted. Caravaggio made an earlier version of the painting, but the commissioner refused it because of its lack of decorum. This work was sadly lost during WW2. It would seem as if the painter did not compromise his intentions, however – this time the evangelist has dirty feet.
It is clear that the angel is dictating something. Judging from his fingers he is enumerating. Maybe it is an opening chapter - often a long list of the forefathers of Jesus.
 

   

Supper At Emmaus (Luke 24:31)
 
Also known as Pilgrimage of Our Lord to Emmaus. The painting shows the moment the two men finally realize who has been talking to them all day: their deceased teacher.
The man on the right is generally believed to be Peter because of the pilgrim's shell on his clothes, in which case the man on the left is Cleophas - the only one mentioned in by name in Luke's version.
The painting was commissioned by Ciriaco Mattei, a brother of cardinal Mattei in whose Roman palazzo Caravaggio lived at the time. In 1606, Cravaggio made another version of this painting.
Almost identical copies of this painting and of Doubting Thomas were found in a church in the French Loire town of Loches in 1999. After investigation, it was announced in 2006 that both works were authentic Caravaggios. Both contain the shield of arms of Philippe de Bethune, a friend of Caravaggio's and French ambassador in Rome. Records show that De Bethune acquired four paintings from his friend. Caravaggio often made several copies of his own paintings.
 

   
Adoration Of The Shepherds (Luke 2:16)
 
Mary and her child rest on the floor of a simple barn. In the back are the ox and the ass; on the foreground Joseph's tools. Joseph is the man in brown, to be identified by the halo over his head.
It is a very peaceful tableau. Apart from the two halos, only the clasped hands of one of the shepherds hint at the religious importance.
   

The Betrayal Of Christ (Luke 22:48)
 
Jesus' face expresses both resignation and pain. He knows what is about to happen to him. Note how he holds his hands. Judas Iscariot greets him with a kiss, so the soldiers know whom to capture.
To better see the face, it is illuminated by a lantern. The man holding the light is Caravaggio himself.
Breaking a rule of his craft, Caravaggio started this painting on a dark ground. The typical composition with the soldier stretching his arm was derived from an Albrecht Durer woodcut.
The painting was commissioned by Ciriaco Mattei, a brother of Caravaggio's patron, Cardinal Mattei. Around 1800 the Mattei family sold it, erroneously attributing it to the Dutch master Gerard van Honthorst. It was rediscovered as a Caravaggio in 1990 while hanging in a Jesuit home in Dublin, Ireland.
 

   
The Conversion Of St Paul (Acts 9:4)
 
One of two known paintings by Caravaggio on the subject of the conversion of St Paul (or Saul). The other also dates from c. 1601.
   
The Crucifixion Of St Peter (2 Peter 1:14)
 
Tradition had it that St Peter was captured and crucified head-down in Rome during the reign of Nero, between 64 and 67. Caravaggio's image of St Peter strongly resembles a mirror image of him in a fresco by Michelangelo.
  The Denial Of St Peter (Matthew 26:69)
 
As Jesus had predicted, Peter denies knowing him three times. This is why Caravaggio has three fingers pointing at Peter: the maid with both hands, the soldier with one finger. Peter's gesture expresses innocence but his face tells that he realizes what he has done.
This is one of Caravaggio's last paintings.