by Tom Gurney
Tom Gurney BSc (Hons) is an art history expert with over 20 years experience
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Email: tomgurney1@gmail.com / Phone: +44 7429 011000
Caravaggio Paintings: A Guide to the Works and Their Versions
Caravaggio's paintings are easier to find than to count. A familiar title can name two distinct canvases; an old catalogue can assign a different date from the current owner; and a work once called his may now be regarded as a copy, a derivative or the work of another painter. This directory is a route through the paintings and those questions. It does not turn a list of page titles into a claim that every entry is an accepted autograph work.[1][2][3]
Begin with a work you can locate. The Calling of Saint Matthew is still in the chapel for which it was painted. The 1601 London Supper at Emmaus is in the National Gallery; a later Brera Supper is a separate canvas. The Uffizi Bacchus belongs to an earlier, brighter group of Roman pictures. These examples show why date, location, inventory and source matter alongside the title.[1][2][4][5]
Caravaggio paintings in this collection
Browse every researched artwork page in the cluster, including versions, lost works and disputed attributions. Each article identifies the object and its evidence.
Caravaggio in context
The Cardsharps
c.1595Calling of Saint Matthew
1599–1600Supper at Emmaus
1601At a Glance
- ArtistMichelangelo Merisi, called Caravaggio (1571–1610)[6]
- Main working centresRome, Naples, Malta and Sicily[6][7]
- What this directory coverscurrent works, documented versions, lost paintings, and separately marked attribution or identity questions
- How entries are organisedbrowse the artwork gallery first, then use the sections below for subjects, places, versions and attribution questions
- For contextread the artist guide, biography, Rome guide and technique guide
Contents
- How to Use This Directory
- Early Roman Pictures
- The Public Roman Commissions
- Paintings for Patrons, Chapels and Collections
- Naples, Malta, Sicily and the Final Years
- Versions with Similar Titles
- Lost Works, Copies and Disputed Attributions
- Find a Painting by Place or Subject
- Frequently Asked Questions
How to Use This Directory
Choose a title, then check the first facts on its article: the object pictured, the current owner or location, the owner inventory number when available, the date as qualified by its source, and the strength of the attribution. The same English title can occur in several collections. A year in a historical URL is a navigation label, not stronger evidence than an owner catalogue.
This approach is especially important for Supper at Emmaus, David with Goliath's head, John the Baptist, Paul's conversion and the Matthew altar image. The pages linked here are intended to identify individual objects or to explain a version problem. A comparison article is not counted as another original painting. Neither is a synonym route that redirects to an existing article.[1][2][3][8]
A useful check is to ask what kind of link a source establishes. An inventory may prove that a described picture belonged to a collector by a certain date without identifying its first commissioner. A museum exhibition proves a work was shown there on loan, not that the museum owns it. An infrared image may reveal preparation beneath one canvas but says nothing automatically about a second version. The strongest identification combines the object's subject with its dimensions, support, collection trail and current catalogue number. That method is more useful than matching a short title across search results.
The directory avoids a precise total of surviving “Caravaggios.” A total depends on what one includes: autograph works whose attribution is widely accepted, second versions, damaged or lost works known from records, and paintings whose authorship remains argued. The safer question is what evidence supports each object. The owning institution's current record is the first check; conservation findings and serious scholarship can refine it. The historic Fondazione Roberto Longhi catalogue is valuable for research, but an older date or attribution there should not silently override a current owner.[4][9]
Early Roman Pictures
Caravaggio's early Roman work includes figures seen close up, fruit, music and the social encounter between a sitter and a viewer. The Galleria Borghese holds Boy with a Basket of Fruit and Young Sick Bacchus. The Uffizi dates Bacchus to about 1598 and relates it to a group of relatively clear, light-filled half-length pictures. The Met's Musicians belongs to Cardinal del Monte's patronage circle.[4][10][11][12]
Fruit may be a subject in itself, as in Basket of Fruit, or part of a performance, as in Bacchus. Games and encounters appear in The Cardsharps and the Fortune Teller. A painting such as Boy Bitten by a Lizard also raises a version question: the National Gallery identifies its London canvas and a high-quality Florence version whose status is debated. The two route articles must make their object identities explicit.[4][13]
This is also the period in which private patrons gave Caravaggio space to test how a figure, an object and a close viewpoint could work together. The pictures do not all look alike. Some are bright and controlled; others bring faces or hands into sudden movement. The artist guide follows that development without turning it into a rigid sequence of dated masterpieces.
The Public Roman Commissions
The Calling of Saint Matthew and Martyrdom of Saint Matthew were made for the side walls of the Contarelli Chapel in San Luigi dei Francesi. The final Inspiration of Saint Matthew is the altar painting there. A first Saint Matthew and the Angel, later in Berlin, is missing and probably destroyed. It has its own article because it is a documented distinct version, although it cannot be viewed in the chapel today.[3][14]
At Santa Maria del Popolo, the Cerasi Chapel has Crucifixion of Saint Peter and the final Conversion of Saint Paul. An earlier Conversion, now associated with the Odescalchi collection, belongs to the same commission history but is a separate picture: first Conversion of Saint Paul. The two route names are easy to confuse, so the object and setting should always accompany them.[8][15]
Rome also preserves the Madonna of Loreto in Sant'Agostino. Other commissions moved from their original settings: the Vatican holds the Deposition from the Vittrice chapel, while the Borghese collection has the Madonna and Child with Saint Anne. Place is part of the story even when the painting no longer hangs where its first viewers met it.[16][17][18]
Paintings for Patrons, Chapels and Collections
Caravaggio's Roman subjects range from religious works to mythological display and portraiture. The London Supper at Emmaus was made for Ciriaco Mattei in 1601. The National Gallery connects the same patronage setting with The Taking of Christ and the Capitoline Saint John the Baptist. A reader can follow those works as a group without assuming that every painting on a Mattei subject stayed in the same collection.[1]
The Incredulity of Saint Thomas, Judith Beheading Holofernes, Death of the Virgin and Madonna of the Rosary show different demands of narrative, patronage and display. Amor Victorious, Medusa and Jupiter, Neptune and Pluto show how broadly he worked with myth and allegory; the last is a ceiling painting in oil on plaster, not a canvas.[19]
Portraits have a different evidential problem. Portrait of Alof de Wignacourt and His Page and Portrait of Fra Antonio Martelli can be studied as named sitters in specific collections. The two Maffeo Barberini routes concern different pictures and must preserve their separate attribution histories. The Portrait of Pope Paul V article addresses a derivative and attribution question rather than silently counting the Borghese canvas as Caravaggio's own hand.[20][21]
Naples, Malta, Sicily and the Final Years
The Seven Works of Mercy still belongs to the Pio Monte della Misericordia in Naples, which commissioned it. The Crucifixion of Saint Andrew is now in Cleveland. These works show how Caravaggio could organise large, crowded sacred scenes after leaving Rome.[22][23]
St John's Co-Cathedral in Valletta preserves the monumental Beheading of Saint John the Baptist and Saint Jerome Writing. In Messina, the Museo Regionale Accascina holds The Adoration of the Shepherds and The Resurrection of Lazarus. Location anchors these late works more securely than dramatic stories repeated about their making.[7][24]
The final phase includes the Met's Denial of Saint Peter and Gallerie d'Italia's Martyrdom of Saint Ursula. The National Gallery's London Salome Receives the Head of John the Baptist must be distinguished from an earlier Madrid painting with a related title. Late dates often remain approximate, and different institutions can place a painting within slightly different windows.[25][26][27]
Versions with Similar Titles
Two Suppers. The National Gallery dates its London canvas to 1601; Brera dates its second treatment to about 1605–06. Their measurements and compositions differ, and each has its own article.[1][2]
Two conversions of Paul. An earlier Conversion of Saul associated with the Odescalchi collection and the final Cerasi Chapel Conversion represent different solutions to the same subject. The picture in the chapel is not simply the earlier panel under a revised label.[8][15]
Two Matthew altar pictures. The first Saint Matthew and the Angel passed to Berlin and is missing, probably destroyed; the final painting remains in the Contarelli Chapel. A photograph of the lost work does not show the painting presently over the altar.[3][14]
Three Saint Jeromes. Two route names say Saint Jerome Writing, but they identify separate paintings. The Borghese canvas is a broad Roman composition, inventory 056, dated about 1606 by its owner: Jerome extends his pen toward an inkwell across a table. The Malta canvas belongs to St John's Co-Cathedral and shows him writing beside a skull in a different arrangement; the foundation records a 1608 commission by Fra Ippolito Malaspina, even though the inherited URL ends “1607.” Montserrat's Penitent Saint Jerome is taller and shows the saint contemplating a skull, not writing; its museum records it as 200.165 and dates it 1605. The Borghese museum's historical catalogue also shows why an old label needs scrutiny: its painting was listed under Ribera in 1790 before the Caravaggio attribution regained acceptance in the twentieth century. That episode concerns the Borghese object, not a dispute over the Malta or Montserrat canvases.[24][46][47]
Two Lute Players. The Hermitage painting has flowers and fruit on a stone table and belonged to Vincenzo Giustiniani. The Del Monte/Barberini painting instead includes a patterned table covering and a small keyboard instrument. The Metropolitan Museum's study also documents a 1628 Barberini purchase of the latter, evidence for two distinct Caravaggio versions. The second route's inherited “Metropolitan Museum” wording records an exhibition and scholarly catalogue, not Met ownership: that catalogue identified the painting as privately owned.[37] Its documented collection status should be checked before planning a visit.
The Met study distinguishes those two paintings from a copy of The Lute Player commissioned from Carlo Magnone in 1642. A copy made by a named later painter is another historical object, but it is not an additional autograph Caravaggio. The same subject can therefore generate two originals, subsequent copies and old catalogue descriptions that require separate checking.[37]
Two Fortune Tellers. The Louvre Fortune Teller is inventory INV 55 / MR 105, measures 99 × 131 cm, and was given to Louis XIV by Camillo Pamphili in 1665 after passing through the Vittrici and Doria-Pamphili collections. The related Musei Capitolini painting in Rome is PC 131, 115 × 150 cm, dated 1596–97 by its owner and recorded as coming from the Pio collection. The two sets of dimensions and collection histories identify different physical canvases, even though this directory has one main article comparing them.[39][40] Technical findings must likewise follow the object: the buried religious image and revised youth's head reported by Rossella Vodret concern the Capitoline canvas, not the Louvre picture.[41] A visitor looking for the Roman work should use PC 131 rather than the Paris inventory number.
Several Davids. The Prado, Kunsthistorisches Museum in Vienna and Galleria Borghese hold different Caravaggio treatments of David with Goliath's head. Their current museum dates do not necessarily match the years embedded in this site's older URLs. The articles identify the owner before debating chronology.[28][29][30]
John the Baptist and a ram. A subject and an animal can be repeated in a version or copy. The Capitoline painting has an owner record and inventory PC 239. The Doria Pamphilj Saint John is another canvas with the youth embracing a ram; the gallery presents it among its Caravaggios, while its autograph status has been disputed. The Capitoline object page and the version guide give the two works separate routes. The Doria gallery's listing establishes its present collection identity, but it cannot make its canvas the documented Mattei painting now catalogued as PC 239 in the Capitolini.[31][45] Other John paintings with a ram or a wilderness setting need their own collection and composition check; “John the Baptist, 1602” alone is inadequate as an image caption.
Salome in Madrid and London. The National Gallery identifies its London painting as the later treatment and distinguishes an earlier Madrid version. The location is essential when a search result gives only the shared subject.[27]
Two Crownings with Thorns. The Kunsthistorisches Museum identifies its wide Vienna painting as Caravaggio, inventory GG 307, 127 × 166 cm, and dates it about 1603, despite the inherited “1607” URL. The separate Prato painting is upright, 178 × 125 cm in the collection's 2022 caption. Prato's gallery presents it as Caravaggio but recounts Roberto Longhi's earlier judgment that it was an old copy; a 1974 restoration and 2001 diagnostic campaign were important to its renewed attribution. This directory therefore identifies the Prato canvas as attributed to Caravaggio. The gallery calls its link to Massimo Massimi's documented commission probable, rather than proof that the surviving Prato canvas was the commissioned object. Shared subject and near dates do not settle either attribution or commission identity.[48][49]
Two Flagellations of Christ. Rouen's horizontal canvas was bought in 1955 under an attribution to Mattia Preti and soon recognised as Caravaggio by Roberto Longhi, according to the owning museum. Its 2022–23 exhibition brought it beside the much larger Capodimonte altarpiece, painted for the De Franchis chapel at San Domenico Maggiore in Naples. Rouen associates its close, half-length format with private devotion; that comparison is an interpretation of intended use, not a documented commission for the Rouen picture. The Capodimonte painting belongs to Italy's Fondo Edifici di Culto and has been in the museum's custody since 1972. The exhibition loan did not transfer ownership or establish a shared commission. Rouen also records a Swiss canvas that was compared with its painting before being treated as a copy; that is a third object, not the Naples altarpiece.[50][51]
Three Francis subjects, plus an old copy. The Hartford Saint Francis of Assisi in Ecstasy shows an angel supporting the saint and is accession 1943.222 at the Wadsworth Atheneum, which dates it about 1595–96.[42] Cremona's Saint Francis in Meditation instead shows Francis with a Gospel and crucifix; its museum dates it 1603–06.[43] The Carpineto Francis kneels with a skull before a cross. That last composition also exists in a near-identical painting from Rome's Capuchin church. The Gallerie Nazionali's comparative account says the Capuchin version was attributed to Caravaggio in 1908, before the Carpineto canvas came to attention in 1968; parallel technical and archival study now identifies the Carpineto picture as the original and the Capuchin one as an old copy.[44] That copy problem concerns the skull-holding composition; it does not change the identities of the angel-supported Hartford painting or the different Cremona scene. A search result headed merely “Saint Francis in Meditation” can refer to either the Cremona work or the Carpineto composition, so a city, collection and pictured attribute should accompany it.
Lost Works, Copies and Disputed Attributions
The first Saint Matthew and the Angel is a documented lost painting. The Nativity with Saint Francis and Saint Lawrence also has a loss history. A lost work can have an informative page without being listed as something a visitor can see today.[3][32]
Berlin's Gemäldegalerie announced in May 2026 that it had digitised historical glass negatives of paintings lost in the Friedrichshain flak-bunker fires, including Caravaggio's first Matthew altarpiece. The high-resolution scan improves access to a historical photograph; it does not restore the physical painting or reveal its lost colour and surface with the certainty of direct examination.[38] The case is a practical reason to preserve separate status labels for extant works, lost works and their surviving reproductions.
Other entries exist because their attribution is worth explaining. Fondazione Longhi describes its Florence Boy Peeling Fruit as a derivation from Caravaggio. A Sacrifice of Isaac once dated 1598 is now catalogued as Bartolomeo Cavarozzi and is distinct from the Uffizi Sacrifice of Isaac. The Toulouse Judith remains an attribution discussion beside the secure Barberini Judith.[9][33][34]
The recently rediscovered Prado Ecce Homo deserves its own carefully sourced treatment and comparison with the Genoa version. That article has a separate Premium research lane because a shared title and a public attribution story can obscure the objects' different histories.[35]
Pages on a Florence version of Boy Bitten by a Lizard, a Toledo John the Baptist, a private still life, The Magdalen in Ecstasy and Reclining Baptist state the particular owner, scholar and evidence behind each attribution. Their appearance in this collection does not settle the debate.[13][36]
Three inherited URLs remain outside this collection pending a defensible object decision: the unidentified object, The Tooth Puller, and a still life with flowers and fruit. They are not added to an accepted Caravaggio corpus merely because an older page used his name.
Find a Painting by Place or Subject
In Rome. Start with the Contarelli Chapel, the Cerasi Chapel and Sant'Agostino, then visit the Borghese and Capitoline collection articles. The Rome guide separates permanent locations from works shown only on temporary loan.[14][15][18]
In London. The National Gallery owns the 1601 Supper at Emmaus, Boy Bitten by a Lizard and a later Salome. These are three different moments in the career, and their object pages give the current gallery records.[1][13][27]
In Florence and Milan. The Uffizi's Bacchus, Medusa and Sacrifice of Isaac should be read against the Ambrosiana's Basket of Fruit and Brera's later Supper. The collections' records control what is currently displayed and how each work is catalogued.[2][4][5]
Biblical stories. Matthew, Paul, the Passion, the Virgin and Mary Magdalene create useful subject routes. They are not a chronology by themselves. To see how the same subject changes between pictures, compare the two Suppers, two conversions and the Baptist versions.
Portraits and classical subjects. Begin with Bacchus, Medusa or Amor Victorious, then use the portrait articles to examine how sitter identification differs from an artwork's attribution.
Explore the Caravaggio collection
| Name | Date | Type |
|---|---|---|
| Adoration of the Shepherds by Caravaggio: The Messina Nativity | 1608–09; precise order relative to Resurrection of Lazarus remains unresolved | Artwork |
| Amor Victorious by Caravaggio | 1601–02 in the Berlin owner record | Artwork |
| Bacchus by Caravaggio: The Uffizi Painting | about 1598, according to the Uffizi | Artwork |
| Basket of Fruit by Caravaggio | after 1597, probably around the turn of the seventeenth century, according to the Ambrosiana | Artwork |
| Boy Bitten by a Lizard: Caravaggio's London Painting | about 1594–95 in the National Gallery's current catalogue; URL suffix “1596” is inherited | Artwork |
| Boy Bitten by a Lizard: The Florence Version Attributed to Caravaggio | disputed; Longhi's catalogue record preserves historical 1592–93 and other proposed ranges, including c.1597 | Artwork |
| Boy Peeling Fruit by Caravaggio: The Royal Collection Painting | about 1592–93 in the owner's current exhibition record | Artwork |
| Boy Peeling Fruit in Florence: A Derivation from Caravaggio | — | Artwork |
| Boy with a Basket of Fruit by Caravaggio | about 1595 in the Galleria Borghese catalogue | Artwork |
| Caravaggio Paintings in Rome: Churches, Museums and a Practical Route | — | Guide |
| Caravaggio Quotes: What the Documents Actually Record | — | Guide |
| Caravaggio's Lute Player: The Del Monte Painting Once Shown at the Met | about 1596–97 in the Met catalogue | Artwork |
| Caravaggio's Painting Technique: Grounds, Incisions, Revisions and Light | — | Guide |
| Christ at the Column by Caravaggio: The Rouen Flagellation | c.1606 in the owner caption; owner prose gives 1606–07 | Artwork |
| Christ on the Mount of Olives by Caravaggio: The Lost Berlin Painting | — | Artwork |
| Conversion on the Way to Damascus by Caravaggio | about 1601 in the Roma Capitale church record | Artwork |
| Crowning with Thorns by Caravaggio: The Vienna Painting | about 1603 in the 2019 KHM record; “1607” is an inherited URL suffix | Artwork |
| Crowning with Thorns in Prato: Attributed to Caravaggio | about 1602–03 in the collection presentation | Artwork |
| David with the Head of Goliath by Caravaggio: The Borghese Painting | 1606–07 or 1609–10 in the Galleria Borghese catalogue; the later Naples period is favoured by many scholars, while the owner keeps the question open | Artwork |
| David with the Head of Goliath by Caravaggio: The Prado Painting | about 1600 in Prado material; “1599” survives only in the legacy URL | Artwork |
| David with the Head of Goliath by Caravaggio: The Vienna Painting | about 1600–01 in the KHM's 2019 exhibition record; “1607” is a legacy route label | Artwork |
| Did Caravaggio Make Drawings? What Survives and What Paintings Reveal | — | Guide |
| Ecce Homo: Caravaggio's Madrid Rediscovery and the Genoa Painting | — | Artwork |
| John the Baptist in Caravaggio's Paintings: A Guide to the Different Versions | — | Artwork |
| Judith Beheading Holofernes by Caravaggio | beginning of the seventeenth century in the owning museum's account; about 1599–1600 in the Kimbell's 2025 loan label; around 1602 in one specialist catalogue | Artwork |
| Jupiter, Neptune and Pluto: Caravaggio's Ludovisi Ceiling | about 1597; the archive connects the work with Cardinal del Monte's 1597 commission | Artwork |
| Madonna and Child with Saint Anne by Caravaggio: The Palafrenieri Altarpiece | 1605 in the Galleria Borghese object field; completed and delivered by 8 April 1606 | Artwork |
| Madonna of Loreto by Caravaggio: The Pilgrims at Sant'Agostino | broadly c.1604–06; institutional records differ slightly in their starting year | Artwork |
| Madonna of the Rosary by Caravaggio: The Vienna Altarpiece | around 1603 in the Kunsthistorisches Museum's object record | Artwork |
| Martha and Mary Magdalene by Caravaggio: The Detroit Painting | about 1598 in the Detroit Institute of Arts record | Artwork |
| Medusa by Caravaggio: The Uffizi Painted Shield | 1596–98 in the Uffizi's virtual exhibition; specialist research reports the shield delivered to the Medici wardrobe by 7 September 1598 | Artwork |
| Narcissus, Attributed to Caravaggio | dependent on attribution; the Zeri catalogue gives a broad 1610–50 range under Spadarino | Artwork |
| Nativity with Saint Francis and Saint Lawrence: Caravaggio's Missing Painting | somewhere in 1600–09 in the parliamentary report; a specific 1609 execution and place remain debated | Artwork |
| Penitent Mary Magdalene by Caravaggio | 1597 in the owner's catalogue, during Caravaggio's early Roman activity | Artwork |
| Portrait of a Courtesan: Caravaggio's Lost Berlin Portrait | Berlin's data field says c.1590, while its own text compares a Caravaggio work of c.1598; precise date unresolved | Artwork |
| Portrait of Alof de Wignacourt and His Page by Caravaggio | — | Artwork |
| Portrait of Fra Antonio Martelli? Caravaggio's Pitti Knight of Malta | 1608 in the Restituzioni object heading; within Caravaggio's Malta period | Artwork |
| Portrait of Maffeo Barberini: The Seated Corsini Painting | c.1596–97 in the national catalogue | Artwork |
| Portrait of Monsignor Maffeo Barberini: Caravaggio's Newly Acquired Painting | around the late 1590s / age thirty; “1598” in the inherited address is approximate, not an exact document date | Artwork |
| Portrait of Pope Paul V: A Caravaggio Attribution and a Borghese Copy | — | Artwork |
| Prints After Caravaggio: Who Made Them and What They Show | — | Guide |
| Reclining Saint John the Baptist: A Disputed Caravaggio Attribution | often proposed for the artist's final years; the later museum list does not give a precise year. | Artwork |
| Rest on the Flight into Egypt by Caravaggio | about 1597 in the owner's catalogue | Artwork |
| Saint Catherine of Alexandria by Caravaggio: The Thyssen Painting | about 1598–99 in the Museo Nacional Thyssen-Bornemisza catalogue | Artwork |
| Saint Francis in Meditation by Caravaggio: The Cremona Painting | 1603–06 in the owner account; c.1605–06 in a KHM exhibition caption | Artwork |
| Saint Francis in Prayer: Caravaggio's Carpineto Painting | 1606 in a 2016–17 exhibition work list | Artwork |
| Saint Francis of Assisi in Ecstasy by Caravaggio | c.1595–96 in the owner wall text | Artwork |
| Saint Jerome in Meditation: Caravaggio's Montserrat Painting | 1605 in the owner record; an owner publication reports scholarship placing it about 1605–06 | Artwork |
| Saint Jerome Writing by Caravaggio: The Borghese Painting | c.1606 in the owner catalogue; the “1605” URL suffix is inherited | Artwork |
| Saint Jerome Writing by Caravaggio: The Malta Painting | around 1607–08; foundation dates Malaspina's commission to 1608 | Artwork |
| Saint John in the Wilderness at Toledo Cathedral | exact 1598 not established by the cited cathedral account. | Artwork |
| Saint John the Baptist at Galleria Corsini, Rome | about 1606 in the national record; older proposals ranged from the late 1590s onward. | Artwork |
| Saint John the Baptist at the Capitoline Museums, Rome | 1602. | Artwork |
| Saint John the Baptist at the Galleria Borghese | 1609–10 in the current Borghese record. | Artwork |
| Saint John the Baptist at the Spring: The Bonello Painting in Malta | early seventeenth century in the institutional account; a precise 1608 is not established there. | Artwork |
| Saint Matthew and the Angel: Caravaggio's Lost First Altarpiece | — | Artwork |
| Salome Receives the Head of John the Baptist: Caravaggio's London Painting | about 1609–10, likely late Naples period in the Gallery's account | Artwork |
| Salome with the Head of John the Baptist: Caravaggio's Madrid Painting | — | Artwork |
| Sleeping Cupid by Caravaggio: The Painting Made in Malta | about 1608, Malta period | Artwork |
| Still Life with Fruit on a Stone Ledge: Is It by Caravaggio? | — | Artwork |
| Supper at Emmaus (1606): Caravaggio's Brera Painting | — | Artwork |
| The Annunciation by Caravaggio in Nancy | c.1607–10 in the collection record; 1608–10 in the museum's restoration account | Artwork |
| The Basel Saint John the Baptist: Once Labelled Caravaggio, Now Maíno | about 1608–10 in that schedule, rather than the legacy URL's 1600. | Artwork |
| The Beheading of Saint John the Baptist by Caravaggio | about 1608; installed in the Oratory on 29 August 1608 | Artwork |
| The Burial of Saint Lucy by Caravaggio in Syracuse | 1608, during Caravaggio's Syracuse stay | Artwork |
| The Calling of Saint Matthew by Caravaggio | about 1599–1600 | Artwork |
| The Calling of Saints Peter and Andrew by Caravaggio | about 1602–04 in the Trust's object text | Artwork |
| The Cardsharps by Caravaggio | about 1596–97 in the Kimbell's current object record | Artwork |
| The Conversion of Saint Paul: Caravaggio's Odescalchi Panel | commissioned in 1600; painted around 1600–01 | Artwork |
| The Crucifixion of Saint Andrew by Caravaggio | 1606–07 | Artwork |
| The Crucifixion of Saint Peter by Caravaggio | about 1601 | Artwork |
| The Death of the Virgin by Caravaggio | commissioned 1601; completed late 1605 or early 1606, according to the Louvre | Artwork |
| The Denial of Saint Peter by Caravaggio | 1610 | Artwork |
| The Doria Pamphilj Saint John the Baptist: A Second Youth with a Ram | linked compositionally to the Capitoline 1602 picture; an exact production year for this canvas is not established by the owner pages used here. | Artwork |
| The Entombment of Christ by Caravaggio: The Vatican Deposition | about 1600–04 in Vatican Museums publication material | Artwork |
| The Flagellation of Christ by Caravaggio: The Capodimonte Altarpiece | around 1607, in the first Naples period | Artwork |
| The Fortune Teller by Caravaggio: The Louvre Version and Its Roman Counterpart | — | Artwork |
| The Holy Family with the Infant Saint John the Baptist by Caravaggio | early 1600s in the Met catalogue; no more exact owner date asserted here | Artwork |
| The Incredulity of Saint Thomas by Caravaggio | about 1601 in the SPSG presentation | Artwork |
| The Inspiration of Saint Matthew by Caravaggio | usually 1602; also catalogued 1602–03, for the installed final altarpiece | Artwork |
| The Lute Player by Caravaggio: The Hermitage Painting | about 1596 in the Hermitage collection publication; the Hermitage Friends restoration page gives about 1595–96 | Artwork |
| The Magdalen in Ecstasy: Caravaggio, Copies and a Disputed Original | — | Artwork |
| The Martyrdom of Saint Matthew by Caravaggio | 1599–1600; unveiled with The Calling in 1600 | Artwork |
| The Martyrdom of Saint Ursula by Caravaggio | — | Artwork |
| The Musicians by Caravaggio | 1597 | Artwork |
| The Resurrection of Lazarus by Caravaggio in Messina | 1609; delivered 10 June 1609 in the owner account | Artwork |
| The Sacrifice of Isaac by Bartolomeo Cavarozzi: A Former Caravaggio Attribution | about 1615–17 in the Nicholas Hall catalogue; “1598” is an inherited URL label, not the accepted date | Artwork |
| The Sacrifice of Isaac by Caravaggio: The Uffizi Painting | about 1603 in the Uffizi catalogue | Artwork |
| The Seven Works of Mercy by Caravaggio | 1606–07, according to the Pio Monte | Artwork |
| The Supper at Emmaus by Caravaggio: The London Painting | 1601 | Artwork |
| The Taking of Christ by Caravaggio | 1602 | Artwork |
| The Toulouse *Judith Beheading Holofernes*: A Caravaggio Attribution Debate | c.1606–07 if identified with the recorded Naples work; that identification is debated | Artwork |
| Young Sick Bacchus by Caravaggio | about 1595 in the Galleria Borghese catalogue | Artwork |
| Youth with a Ram: Why Caravaggio's Saint John Looks So Unusual | — | Artwork |
No matching pages found.
Discussion
Share a close observation about Caravaggio Paintings or a source that clarifies its history.
Which detail changes your reading?
Is there a collection record or document worth comparing?
What remains uncertain?
Join the Conversation
Frequently Asked Questions
How many paintings did Caravaggio make?
Are the London and Brera Suppers at Emmaus the same painting?
Where are the Matthew paintings?
Why do some article URLs have years that differ from museum dates?
References
- National Gallery, London, The Supper at Emmaus, NG172.
- Pinacoteca di Brera, Cena in Emmaus, inventory 2296.
- Staatliche Museen zu Berlin, first Saint Matthew and the Angel.
- Gallerie degli Uffizi, Bacchus.
- Pinacoteca Ambrosiana, Basket of Fruit.
- National Gallery, London, Caravaggio artist record.
- Museo Regionale Accascina, Caravaggio works in Messina.
- Gallerie Nazionali Barberini Corsini, first Conversion of Saul.
- Fondazione Roberto Longhi, Caravaggio and Caravaggesque collection.
- Galleria Borghese, Boy with a Basket of Fruit.
- Galleria Borghese, Self-Portrait as Bacchus.
- The Metropolitan Museum of Art, The Musicians.
- National Gallery, London, Boy Bitten by a Lizard.
- Roma Capitale, San Luigi dei Francesi.
- Roma Capitale, Santa Maria del Popolo.
- Vatican Museums, Deposition.
- Galleria Borghese, Madonna and Child with Saint Anne.
- Roma Capitale, Caravaggio places in Rome.
- Casino dell'Aurora, Jupiter, Neptune and Pluto.
- Gallerie Nazionali Barberini Corsini, state acquisition of Portrait of Monsignor Maffeo Barberini.
- Galleria Borghese, Portrait of Paul V Borghese.
- Pio Monte della Misericordia, Caravaggio and the Seven Works.
- Cleveland Museum of Art, The Crucifixion of Saint Andrew.
- St John's Co-Cathedral, Caravaggio works.
- The Metropolitan Museum of Art, The Denial of Saint Peter.
- Gallerie d'Italia, Martyrdom of Saint Ursula.
- National Gallery, London, Salome Receives the Head of John the Baptist.
- Museo Nacional del Prado, David with the Head of Goliath.
- Kunsthistorisches Museum, Caravaggio's David.
- Galleria Borghese, David with the Head of Goliath.
- Musei Capitolini, San Giovanni Battista, PC239.
- Carabinieri, account of the stolen Caravaggio Nativity.
- Nicholas Hall, Bartolomeo Cavarozzi's Sacrifice of Isaac.
- Pinacoteca di Brera, scholarly symposium on Caravaggio attributions.
- Museo Nacional del Prado, rediscovered Ecce Homo.
- Catedral Primada de Toledo, restoration of Saint John in the Wilderness.
- Metropolitan Museum of Art, A Caravaggio Rediscovered: The Lute Player, Keith Christiansen's catalogue of the Del Monte/Barberini painting, comparison with the Giustiniani version and later Magnone copy.
- Staatliche Museen zu Berlin, digitisation of lost Gemäldegalerie paintings, 21 May 2026.
- Musée du Louvre, La diseuse de bonne aventure, INV 55 / MR 105, size and 1665 royal acquisition history.
- Musei Capitolini, La Buona Ventura, PC 131, size, date and Pio collection provenance of the Roman version.
- Rossella Vodret, Art from Inside diagnostic research, Fondazione Bracco proceedings, pp. 27–36, buried image and revised head in the Capitoline Fortune Teller.
- Wadsworth Atheneum, European Art wall text, p. 55, Hartford Saint Francis of Assisi in Ecstasy, accession 1943.222.
- Cremona Musei, St Francis in Meditation, subject and 1603–06 dating.
- Gallerie Nazionali Barberini Corsini, Caravaggio nel patrimonio del F.E.C.: Il Doppio e la Copia, 2017, Carpineto and Capuchin comparative attribution history.
- Galleria Doria Pamphilj, gallery description, the Doria Saint John the Baptist in the collection's three-Caravaggio display.
- Galleria Borghese, Saint Jerome, inventory 056, object details and historical catalogue entry.
- Museu de Montserrat, Penitent Saint Jerome, registration 200.165, owner collection record.
- Intesa Sanpaolo, Prato gallery collection brochure, pp. 2–3, restoration, diagnostics and proposed Massimi identification.
- Kunsthistorisches Museum Vienna, Crowning with Thorns, GG 307, exhibition object record and dimensions.
- Musée des Beaux-Arts de Rouen, Caravage. Un coup de fouet, 2022–23 comparison, attribution and copy history of Rouen's Flagellation.
- Museo e Real Bosco di Capodimonte, Flagellation at Capodimonte, De Franchis context, FEC ownership and museum custody since 1972.