Caravaggio

as c

The Calling of Saint Matthew (1599–1600). Contarelli Chapel, San Luigi dei Francesi, Rome. The beam of light, which enters the picture from the direction of a real window, expresses in the blink of an eye the conversion of St Matthew, the hinge on which his destiny will turn, with no flying angels, parting clouds or other artifacts.

The Crucifixion of Saint Peter, 1601. Cerasi Chapel, Santa Maria del Popolo, Rome.

Oil on canvas, 139 cm × 195 cm (55 in × 77 in). National Gallery, London. Caravaggio included himself as the figure on the top left.

Conversion on the Way to Damascus, 1601, Cerasi Chapel, Santa Maria del Popolo, Rome.

National Gallery of Ireland, Dublin. Caravaggio's application of the chiaroscuro technique shows through on the faces and armour notwithstanding the lack of a visible shaft of light. The figure on the extreme right is a self-portrait.

The Entombment of Christ, (1602–1603), Pinacoteca Vaticana, Rome.

-1606

1601–1606. Louvre, Paris.

-1609

oil on canvas

- The Seven Acts of Mercy

with the Head of

The Seven Works of Mercy, 1606–1607, Pio Monte della Misericordia, Naples.

More details David with the Head of Goliath, 1609–1610, Galleria Borghese, Rome.

More details The Denial of Saint Peter (1610), Metropolitan Museum of Art