Major Works by Caravaggio

Michelangelo Merisi da Caravaggio’s works have left an indelible mark on the history of Western art, particularly through his revolutionary use of light, shadow, and realism. His paintings often depicted intense scenes of human emotion, violence, and spiritual transformation, executed with a dramatic style that profoundly influenced the Baroque movement.

Below are some of the Italian painter’s most significant works, each showcasing his mastery of chiaroscuro and his ability to humanize religious and mythological figures.

The Calling of Saint Matthew (1599–1600)

Location: Contarelli Chapel, San Luigi dei Francesi, Rome

One of Caravaggio’s most celebrated works, The Calling of Saint Matthew captures the moment when Jesus calls the tax collector Matthew to become one of his disciples. Caravaggio situates the scene in a dark, tavern-like setting, with figures dressed in contemporary clothing. A beam of light enters from the right side of the composition, highlighting Matthew and symbolizing his spiritual awakening. Jesus, bathed in shadow, extends his hand to point at Matthew, a gesture echoing Michelangelo’s Creation of Adam on the Sistine Chapel ceiling.

This painting is a prime example of Caravaggio’s ability to combine the sacred and the everyday, presenting a biblical scene in a relatable, human context. The contrast between the light and shadow, known as chiaroscuro, directs the viewer’s attention to the central drama and creates a sense of divine presence without the use of traditional heavenly symbols.

Judith Beheading Holofernes (1599)

Location: Galleria Nazionale d’Arte Antica, Rome

Judith Beheading Holofernes is a powerful depiction of the biblical story in which the Jewish heroine Judith decapitates the Assyrian general Holofernes to save her people. The painting shows the exact moment of Holofernes’ beheading, with Judith pulling his hair back as she thrusts the sword into his neck, assisted by her maidservant. The look of horror on Holofernes’ face and the determined expression on Judith’s reflect Caravaggio’s mastery of psychological realism.

The stark contrast between light and dark heightens the drama of the scene, with the figures illuminated against a black background. The visceral nature of the scene, combined with the intense emotion on the characters’ faces, exemplifies Caravaggio’s unique ability to render violence in a raw, unflinching manner.

The Martyrdom of Saint Matthew (1599–1600)

Location: Contarelli Chapel, San Luigi dei Francesi, Rome

This work is part of a series Caravaggio completed for the Contarelli Chapel and depicts the moment of Saint Matthew’s martyrdom. The scene is chaotic and violent, with the executioner poised to strike the final blow as Matthew, sprawled on the ground, reaches out toward an angel descending from above. The composition is filled with movement, and the emotional intensity is palpable, with figures either fleeing in terror or witnessing the event in shock.

Caravaggio’s use of chiaroscuro in this painting is particularly striking. The figures emerge from the darkness, with the bright light drawing attention to the central action. The psychological tension, combined with the dynamic composition, makes this one of Caravaggio’s most dramatic works.

The Supper at Emmaus (1601)

Location: National Gallery, London

In The Supper at Emmaus, Caravaggio depicts the moment when the resurrected Christ reveals his identity to two of his disciples during a meal. The painting is characterized by its intense realism, from the still-life details on the table to the expressions of shock and amazement on the disciples’ faces. Christ is depicted as an ordinary man, without the traditional halo or divine attributes, emphasizing the human aspect of the divine.

The lighting in this painting is masterful, with the figures bathed in a warm, natural light that contrasts with the darker background. The moment of revelation is captured through the disciples’ outstretched arms and wide eyes, making the scene feel immediate and emotionally charged. The realism and naturalism in this work are hallmarks of Caravaggio’s style.

The Death of the Virgin (1606)

Location: Louvre Museum, Paris

The Death of the Virgin was commissioned for the Church of Santa Maria della Scala in Rome, but it was rejected by the clergy due to its stark realism. Caravaggio depicted the Virgin Mary as a lifeless figure, her body bloated and sprawled out on a bed, surrounded by mourners. Unlike the idealized, serene images of the Virgin typically seen in Renaissance art, Caravaggio’s portrayal was shockingly human. It was rumored that he used a drowned prostitute as the model for the Virgin, adding to the controversy.

The painting is somber and devoid of the idealized beauty traditionally associated with the Virgin Mary. The dramatic lighting, with the figures emerging from a dark background, creates a sense of mourning and solemnity. Despite its initial rejection, the painting is now considered one of Caravaggio’s masterpieces, demonstrating his unflinching realism and willingness to challenge artistic conventions.

The Conversion of Saint Paul (1601)

Location: Santa Maria del Popolo, Rome

This work captures the moment when Saul, later known as Paul, is struck blind by a divine light while on the road to Damascus. Caravaggio focuses on the intense personal experience of Saul, who lies on the ground, arms outstretched, as his horse towers over him. The figure of Jesus is absent from the scene, with the divine presence indicated solely by the bright light illuminating Saul.

The composition is stark, with only a few figures and a limited color palette, but the emotional intensity of the scene is powerful. Caravaggio’s use of chiaroscuro enhances the sense of divine intervention, with the light serving as a metaphor for Saul’s spiritual awakening.

David with the Head of Goliath (1610)

Location: Galleria Borghese, Rome

This late work by Caravaggio is a haunting depiction of the young David holding the severed head of Goliath. The painting is often interpreted as a self-portrait, with Caravaggio casting himself as the slain giant, reflecting his inner turmoil and guilt. David, holding the head with a mixture of sorrow and triumph, is bathed in light, while Goliath’s head is cast in shadow, emphasizing the themes of death and redemption.

The painting is both violent and introspective, with David’s melancholic expression contrasting with the gruesome nature of the scene. The use of light and shadow enhances the emotional depth of the painting, making it a poignant reflection on mortality and sin.

The Beheading of Saint John the Baptist (1608)

Location: St. John’s Co-Cathedral, Valletta, Malta

This monumental work was painted during Caravaggio’s time in Malta and is considered one of his greatest achievements. The painting depicts the beheading of Saint John the Baptist in a stark, prison-like setting. The executioner leans over the saint’s body, preparing to deliver the final blow, while a woman, likely Salome, watches from the side.

The composition is marked by its simplicity and the use of muted colors, but the emotional power of the scene is undeniable. The figures are illuminated by a single light source, casting deep shadows and heightening the sense of drama. The painting is also notable for its large scale and the inscription of Caravaggio’s signature in the blood of Saint John, symbolizing the artist’s personal connection to the themes of martyrdom and suffering.

The Seven Works of Mercy (1607)

Location: Pio Monte della Misericordia, Naples

This complex painting was commissioned by the charitable organization Pio Monte della Misericordia and depicts seven acts of mercy, based on the Christian tradition. Caravaggio weaves these acts—feeding the hungry, giving drink to the thirsty, clothing the naked, sheltering the homeless, visiting the sick, visiting the imprisoned, and burying the dead—into a single, unified composition.

The figures are packed into a small space, each engaged in an act of mercy, with dramatic lighting highlighting the key moments. The painting reflects Caravaggio’s deep empathy for the downtrodden and his ability to portray human suffering with dignity. It is a powerful statement on charity and compassion, rendered with the emotional intensity typical of Caravaggio’s work.

Narcissus (1597–1599)

Location: Galleria Nazionale d’Arte Antica, Rome

In Narcissus, Caravaggio presents the mythological figure Narcissus as he gazes at his own reflection in a pool of water. The painting captures the moment of Narcissus’s self-obsession, which ultimately leads to his demise. The figure is shown bent over, intently focused on his reflection, with the dark background emphasizing the isolation and introspection of the scene.

The painting is notable for its psychological depth, with Narcissus’s self-absorption symbolizing the dangers of vanity and self-love. The composition is simple, yet the emotional impact is profound, with the reflection in the water creating a sense of duality and introspection.