Michelangelo Merisi Caravaggio (1573-1610)Probably the most revolutionary artist of his time, the Italian painter Caravaggio abandoned the rules that had guided a century of artists before him. They had idealized the human and religious experience.As an adult he would become known by the name of his birthplace. Orphaned at age 11, he was apprenticed to the painter Simone Peterzano of Milan for four years. At some time between 1588 and 1592, he went to Rome and worked as an assistant to painters of lesser skill. About 1595 he began to sell his paintings through a dealer. The dealer brought Caravaggio to the attention of Cardinal Francesco del Monte. Through the cardinal, Caravaggio was commissioned, at age 24, to paint for the church of San Luigi dei Francesi. In its Contarelli Chapel Caravaggio's realistic naturalism first fully appeared in three scenes he created of the life of St. Matthew. The works caused public outcry, however, because of their realistic and dramatic nature. Despite violent criticism, his reputation increased and Caravaggio began to be envied. He had many encounters with the law during his stay in Rome. He was imprisoned for several assaults and for killing an opponent after a disputed score in a game of court tennis. Caravaggio fled the city and kept moving between hiding places. He reached Naples, probably early in 1607, and painted there for a time, awaiting a pardon by the pope. Here there was a in his painting style. The dark and urgent nature of his paintings at this time must have reflected Caravaggio's desperate state of mind. Early in 1608 Caravaggio went to Malta and was received as a celebrated artist. Fearful of pursuit, he continued to flee for two more years, but his paintings of this time were among the greatest of his career. After receiving a pardon from the pope, he was wrongfully arrested and imprisoned for two days. A boat that was to take him to Rome left without him, taking his belongings. Misfortune, exhaustion, and illness overtook him as he helplessly watched the boat depart. He collapsed on the beach and died a few days later on July 18, 1610. Saint John in the Wilderness, ca. 1605: The conception of the image is itself remarkable, for the Baptist had hardly ever before been portrayed as an isolated, seated figure who lacks, moreover, his usual attributes of halo, lamb and banderole. Stark contrasts of light and dark accentuate the perception that the figure leans forward, out of the deep shadows of the background and into the lighter realm of the viewer's own space.
 Bacchus, ca. 1597, Uffizi Gallery of Florence, Italy: Discovered in the storerooms by Marangoni in 1916. It represents a view of what appears to be a male courtesan, said to be immensely popular in Baroque Italy of the Sixteenth century.
 John the Baptist as a child, 1600: Musei Capitolini, Rome This painting exists in two versions, both versions are in Rome, the other in the Galleria Doria-Pamphili. The image is a masterpiece of virtuosity whose appeal lies in its soft, caressing light and velvety rendering of cloth, flesh, and plants. The figure is identifiable as St. John only virtue of the symbols of Christ displayed in the painting: the ram (sacrificial victim), and the grape-leaves (from whose red juice, akin to the blood of Christ, springs life); otherwise the iconographical subject (the simple, immediately apparent image) appears as a nude youth with an ironic, if not allusive, expression. Its cultivated content and its destination for an aristocratic patron are underscored by the artist's explicit use of a great figurative source of the past: Michelangelo's Ignudi from the Sistine Ceiling. But whereas Michelangelo created abstract and ideal figures with cold lights and a merely theoretical plasticism, he models his figure on the careful observation of nature, achieving an image of perfect realism.
 Amor Victorious, 1602-3, Staatliche Museen, Berlin: This paintings was always considered one of Caravaggio's great masterpieces. He painted it for Marchese Giustiniani. The figure sets up a direct, special and privileged relationship with the viewer, with an immediate appeal that is truly extraordinary. One is bewildered by this painting, by the absolute freedom that the subject obviously enjoys, detaching himself from mere mortals who must obey the laws of nature. The figure is in the act of mocking the world with a complete impunity, a self-assurance that produce a mixture of astonishment and envy. The figure has a torso that recalls Michelangelo's Victory. 
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