Firenze

The painting depicts the moment when Abraham, in obedience to God's command, is about to sacrifice his son Isaac, who is saved by an angel offering Abraham a ram in Isaac's place. The scene is lit with the dramatically enhanced chiaroscuro (tenebrism) with which Caravaggio was to revolutionize Western art, falling like a stage spotlight on the face of the youthful angel. The faces of Abraham and Isaac are in shadow, but show great emotion. The gestures of the hands are acutely eloquent, and the angel's hand is resting on the ram's head in imitation of the way Abraham's left hand rests on the head of his son.
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Vaticano

Caravaggio created one of his most admired altarpieces, The Entombment of Christ, in 1603–1604 for the second chapel on the right in Santa Maria in Vallicella (the Chiesa Nuova), a church built for the Oratory of Saint Philip Neri. A copy of the painting is now in the chapel, and the original is in the Vatican Pinacoteca. The painting has been copied by artists as diverse as Rubens, Fragonard, Géricault and Cézanne.
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Kansas

Caravaggio's decision to paint John the Baptist as a youth was somewhat unusual for the age: the saint was traditionally shown as either an infant, together with the infant Jesus and possibly his own and Jesus's mother, or as an adult, frequently in the act of baptising Jesus. Nevertheless, it was not totally without precedent. Leonardo had painted a youthful and enigmatically smiling Baptist with one finger pointing upwards and the other hand seeming to indicate his own breast, while Andrea del Sarto left a Baptist which almost totally prefigures Caravaggio. Both Leonardo and del Sarto had created from the figure of John something which seems to hint at an entirely personal meaning, one not accessible to the viewer, and Caravaggio was to turn this into something like a personal icon in the course of his many variations on the theme.
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Saint John the Baptist in the Wilderness

Year 1604
Medium Oil on canvas
Dimensions173 × 133 cm (68 × 52 in)
LocationMuseum of Art, Kansas City

Genova

The scene is taken from the Gospel of (John 19): Pontius Pilate displays Christ to the crowd with the words, "Ecce homo!" ("Behold the man"). Caravaggio's version of the scene combined Pilate's display with the earlier moment of Christ, already crowned with thorns, mockingly robed like a king by his tormentors. Massimi already possessed a Crowning with Thorns, by Caravaggio, and Ecce Homo may have been intended as a companion piece. Stylistically, the painting displays characteristics of Caravaggio's mature Roman-period style.
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Roma

The painting is generally dated to 1605–06, largely on the statements of 17th-century art historical biographer Gian Pietro Bellori, though Denis Mahon suggests 1602–1604. According to Bellori, Caravaggio produced the piece at the behest of Cardinal Scipione Borghese, who became a cardinal in 1605, but it is possible that Borghese acquired it later as it is not mentioned in a 1613 poem by Scipione Francucci that described the Borghese Caravaggio collection. Whether or not the dating is accurate, the work is believed to have originated from Caravaggio's late Roman period, which ended with the painter's exile to Malta in 1606.
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Paris

The composition is arranged around the Virgin, the painting's central theme. Surrounding the Virgin are overcome Mary Magdalen and apostles. Others shuffle in behind them. The compact mass of the assemblage and the posturing of the figures guide the viewer's eye toward the abandoned body. He expresses the greater grief of the former not by a more emotive face, but by hiding their faces. Caravaggio, master of stark and dark canvases, is not interested in a mannerist exercise that captures a range of emotions. In some ways this is a silent grief, this is no wake for wailers. The sobbing occurs in faceless emotional silence. The holiness of the Virgin is discerned by her thread-like halo. Suppressing all anecdotal detail, Caravaggio invests this subdued scene with extraordinary monumentality through the sole presence of these figures and the intensity of their emotions. The theatrical drape of blood-red cloth looms in the upper portion of the canvas; a common motif in deposition painting, here used to heighten the scene's dramatic effect.
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Milano

The painting inevitably invites comparison with the National Gallery version of the same subject: the expansive theatrical gestures have become understated and natural, the shadows are darkened, and the colours muted although still saturated. The effect is to emphasize presence more than drama. Some details - the ear of the disciple on the right, the right hand of the innkeeper's wife - remain badly drawn, but there is a fluidity in the handling of the paint which was to increase in Caravaggio's post-Roman work as his brushwork became increasingly calligraphic. The artist may have had problems working out his composition - the innkeeper's wife looks like a last-minute addition. Neither she nor the innkeeper are mentioned in the Gospel of Luke 24:28-32, but had been introduced by Renaissance painters to act as a foil to the amazement of the two disciples as they recognise the resurrected Christ.
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Cleveland

The incident depicted, the martyrdom of Saint Andrew, was supposed to have taken place in Patras, Greece. The saint, bound to the cross with ropes, was said to have survived two days, preaching to the crowd and eventually converting them so that they demanded his release.[1] When the Roman Proconsul Aegeas[2]—depicted lower right—ordered him taken down, his men were struck by a miraculous paralysis, in answer to the saint's prayer that he be allowed to undergo martyrdom.[3] From the 17th century Saint Andrew was shown on a diagonal cross, but Caravaggio would have been influenced by the 16th century belief that he was crucified on a normal Latin cross.
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