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🎨 St Jerome Writing (c.1607), Valletta An old man writes by candlelight, a skull beside him. Not learning, but urgency. The candle burns down, death waits, and the work remains unfinished. Late Caravaggio at his most haunting. #Caravaggio #BaroqueArt #ArtHistory

🎨✨ GIVEAWAY TIME! ✨🎨 Art Herstory and Stories from the Art are teaming up once again for the second of our four giveaways in 2026! Want the chance to win and enjoy some art themed goodies? Head over to Instagram! The winner will be announced this weekend, so get entering! Good luck! 🍀🎨

🎨 The Flagellation of Christ (c.1607), Naples Caravaggio strips the scourging down to flesh, pressure, and endurance. No spectacle. No escape. Just Christ bound at the centre of methodical violence. Suffocating in its intimacy. #Caravaggio #BaroqueArt #ArtHistory

🎨 Salome with the Head of John the Baptist (c.1607), London No triumph, no spectacle, just exhaustion after violence. Salome turns away, the old woman grieves, the executioner barely reacts. Caravaggio paints what brutality leaves behind. #Caravaggio #BaroqueArt #ArtHistory

🎨 Christ at the Column (c.1607), Rouen The scourging hasn’t begun but everything points toward it. Whip raised, body bound, tension unbearable. Not violence itself, but the moment before it breaks. #Caravaggio #BaroqueArt #ArtHistory

🎨 Crowning with Thorns (c.1607), Vienna Christ bends beneath the pressure as the crown is forced down. No miracle interrupts the scene. Only exhaustion, flesh, and deliberate violence. Suffering made brutally physical. #Caravaggio #BaroqueArt #ArtHistory

🎨 Madonna of the Rosary (c.1607), Vienna The faithful kneel beneath a heavy heaven. Poor, weary, reaching upward. Caravaggio turns devotion into something crowded, physical, deeply human. #Caravaggio #BaroqueArt #ArtHistory

🎨 David with the Head of Goliath (c.1607), Vienna No triumph here. Just a boy, a sword, and the severed head still dripping from violence. David looks away, unsettled. The act is over, but its weight remains. #Caravaggio #BaroqueArt #ArtHistory

🎨 Crucifixion of St Andrew (c.1607), Cleveland Bound, not nailed, Andrew endures on the cross. Frail body against brute force below. Martyrdom becomes spectacle, but one woman alone looks with compassion. #Caravaggio #BaroqueArt #ArtHistory

🎨 Seven Works of Mercy (c.1607), Naples Caravaggio turns seven acts of mercy into one crowded night scene. Chaotic, dark, overwhelming. Mercy doesn’t descend cleanly from heaven. It struggles through the streets. #Caravaggio #BaroqueArt #ArtHistory

🎨 Supper at Emmaus (1606), Milan The same revelation, but a different Caravaggio. No theatrical shock. Just quiet recognition in the shadow of exile, loss, and exhaustion. Late Caravaggio whispers where early Caravaggio shouted. #Caravaggio #BaroqueArt #ArtHistory

🎨 St Francis in Meditation & Saint Francis in Prayer (c.1606) Two haunting, disputed works: Francis alone with skull, scripture, and silence. Not ecstasy, but retreat. Spiritual reflection stripped to darkness and mortality. #Caravaggio #BaroqueArt #ArtHistory

🎨 Mary Magdalene in Ecstasy (c.1606), Rome No angels, no spectacle, just a woman in darkness. Head back, tears forming. Not transformation complete, but in motion. Divine experience made private. #Caravaggio #BaroqueArt #ArtHistory

🎨 Death of the Virgin (1601–1606), Louvre Mary lies fully dead — no glory, no ascent. Just grief, weight, and human loss. Caravaggio strips away divinity to make mourning unavoidable. #Caravaggio #BaroqueArt #ArtHistory

🎨 Madonna & Child with St Anne (c.1606), Rome Installed for 8 days, then removed. Too human, too real. Mary guides Christ as he crushes the serpent. Not effortless, but learned. The sacred, uncomfortably close. #Caravaggio #BaroqueArt #ArtHistory

🎨 Saint Jerome Writing (c.1605), Rome From thought to action. Quill in hand, time running out. A skull nearby: mortality presses on every word. Work made urgent, knowledge made lasting. #Caravaggio #BaroqueArt #ArtHistory

🎨 Saint Jerome in Meditation (c.1605), Montserrat Alone with thought. No books, just a skull and silence. Not scholarship, but the weight before it. A body, a mind, and the certainty of death. #Caravaggio #BaroqueArt #ArtHistory

🎨 Christ on the Mount of Olives (c.1605) — lost in 1945 A quiet warning. Christ wakes Peter, pointing toward unseen betrayal. Not the act, but the dread before it. Now only a shadow of what followed. #Caravaggio #BaroqueArt #LostArt

🎨 Calling of Saints Peter and Andrew (c.1604), Hampton Court A quiet invitation. Christ turns away as they hesitate. Fish in hand: past and future held together. The moment before everything changes. #Caravaggio #BaroqueArt #ArtHistory

🎨 John the Baptist (c.1604), Rome No clear symbols. Just a boy in darkness. Identity must be recognised, not declared. The wilderness turns inward. Not prophecy, but isolation. #Caravaggio #BaroqueArt #ArtHistory

🎨 John the Baptist (c.1604), Kansas City Not a prophet, but a boy turned inward. Head bowed, wrapped in red, silence heavy with what’s to come. Not action, but foreboding. #Caravaggio #BaroqueArt #ArtHistory

🎨 Madonna of Loreto (c.1604), Rome A barefoot Mary in a crumbling doorway meets pilgrims with dirty feet. No idealisation, just an encounter. The sacred doesn’t descend; it waits at the door. #Caravaggio #BaroqueArt #ArtHistory

🎨 Crowning with Thorns (c.1603), Prato — attrib. debated Christ slumps as the crown is forced down. No blood yet, just tension before it breaks. Tight, suffocating, intimate. Not triumph, but humiliation. #Caravaggio #BaroqueArt #ArtHistory

🎨 The Entombment (c.1603), Vatican Christ’s weight is real — body lowered, arm falling, grief unfolding behind him. No idealisation. Just death. The stone projects outward: not just burial, but offering. #Caravaggio #BaroqueArt

🎨 Sacrifice of Isaac (c.1603), Uffizi Knife raised, terror immediate — Isaac fights, Abraham does not hesitate. An angel intervenes at the last instant. Violence, obedience, mercy collide. #Caravaggio #BaroqueArt #ArtHistory

🎨 The Taking of Christ (c.1602), Dublin Judas’s kiss lands — betrayal in an instant. Christ yields; soldiers close in. Caravaggio stands with a lantern, lighting the scene and implicating us. No distance. No escape. #Caravaggio #BaroqueArt #ArtHistory

🎨 The Incredulity of St Thomas (c.1602), Potsdam Doubt made physical — Thomas’s finger enters Christ’s wound. No spectacle, just flesh, proof, and belief forged through touch. Faith, or evidence? #Caravaggio #BaroqueArt #ArtHistory

🎨 John the Baptist (c.1602), Rome Cecco as a saint — reclining, smiling, watching us. No clear symbols, just a body and a ram. Sacred and sensual blur. Not prophecy, but potential. #Caravaggio #BaroqueArt #ArtHistory

🎨 Inspiration of St Matthew (c.1602), Rome The replacement: no touch, no dependence. The angel hovers; Matthew thinks. Inspiration becomes illumination — heaven reaching down, mind reaching up. #Caravaggio #BaroqueArt #ArtHistory

🎨 Amor Victorious (c.1602), Berlin Cupid stands over music, war, knowledge — all defeated. Not divine perfection, but something physical, unsettling. Love as unruly force. Now at the Wallace Collection (free until 12 April). #Caravaggio #BaroqueArt #ArtHistory

🎨 Supper at Emmaus (c.1602), London The instant of recognition — Christ still, the disciples erupt. A tavern, a meal, a miracle. Not all see it. The divine hides in the ordinary. #Caravaggio #BaroqueArt #ArtHistory

🎨 Conversion of Saint Paul (c.1601), Cerasi Chapel No spectacle. Just a man, a horse, and blinding light. Saul falls, arms open in surrender. Not drama, but collapse. Conversion as something inward, inevitable. #Caravaggio #BaroqueArt #ArtHistory

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We’ve teamed up with @artherstory.bsky.social on a giveaway! Think you really know your art? Let’s find out. Enter now: gleam.io/WEDRv/art-he... 🔗 Don’t wait! Every action (from following profiles to answering questions) earns you points 🏆 The winner is announced on 6th April! ⏳🎉

🎨 Conversion of Saint Paul (c.1601), Rome — the original Cerasi version. Crowded, explosive: Saul thrown to the ground as heaven breaks in. Horse rearing, angel descending. Too dramatic for the chapel? Perhaps. #Caravaggio #BaroqueArt #ArtHistory

🎨 Crucifixion of Saint Peter (c.1601), Rome No spectacle — just men straining to raise the cross, an ageing body nailed to wood. Peter twists toward the light. Triumph through endurance, not glory. #Caravaggio #BaroqueArt #ArtHistory

🎨 The Martyrdom of St Matthew (c.1600), Contarelli Chapel Chaos erupts at the altar — sword raised, saint falling. No serene martyrdom, only violence mid-breath. An angel descends as panic fractures the crowd. Belief under attack. #Caravaggio #BaroqueArt #SacredArt

🎨 The Calling of St Matthew (c.1600), Contarelli Chapel A tavern, coins on the table — and Christ’s quiet gesture. Light cuts through dust and doubt. Which man is Matthew? Caravaggio leaves the moment suspended between call and choice. #Caravaggio #BaroqueArt #ArtHistory

🎨 Narcissus (c.1599), Rome — attribution debated. A youth bends over dark water, trapped in a perfect circle of longing. No world beyond the reflection. Not vanity as spectacle, but melancholy — identity undone by desire. #Caravaggio #BaroqueArt #ArtHistory

🎨 David and Goliath (c.1599), Prado The battle is over. No triumph — just a boy in shadow holding a giant’s head. Little blood, heavy silence. Violence has passed; the burden remains. #Caravaggio #BaroqueArt #OldMasters

🎨 Judith Beheading Holofernes (c.1598), Rome Caravaggio captures the instant of action — blade in flesh, blood arcing. Beauty, horror, power shifting in a breath. Rome knew execution. He paints it unflinchingly. #Caravaggio #BaroqueArt #ArtHistory

Among new exhibitions by women artists opening this month in London and Belgium: Michaelina Wautier at the Royal Academy Cecily Brown at the Serpentine Gallery Dutch and Flemish women artists 1600-1750 at the MSK in Ghent Our March round-up: art-exhibitions.blogspot.com/2026/02/new-...

🎨 Portrait of Maffeo Barberini (c.1598) A future Pope, not yet crowned. No splendour — just biretta, letter in hand, mind at work. Caravaggio gives us intellect over spectacle; ambition lit from the dark. #Caravaggio #BaroqueArt #ArtHistory

🎨 Martha and Mary Magdalene (c.1598), Detroit Two sisters, mid-conversion. A mirror, orange blossom, discarded cosmetics. Sanctity unfolds in dialogue — not ecstasy. Sacred history, startlingly modern. #Caravaggio #BaroqueArt #WomenInArt

🎨 John the Baptist (c.1598), Toledo — attrib. disputed. Caravaggio? Perhaps. Youthful, vulnerable, no drama — just vine, thorns, lamb. Prophecy without spectacle. Sanctity made human. #Caravaggio #BaroqueArt #ArtDebate

🎨 Sacrifice of Isaac (c.1598?) Attribution disputed Authorship matters, but so does influence. Even uncertainty tells us something about how profoundly Caravaggio reshaped biblical drama. What do you see? Caravaggio or Cavarozzi? #AttributionDebate #BiblicalDrama #ArtMysteries #LookingCloser

🎨 St Catherine of Alexandria (c.1598) Thyssen-Bornemisza, Madrid Caravaggio shows the moment before suffering. No blood. No miracle. Just resolve. Sanctity here isn’t spectacle. It’s moral strength, calm and imitable. #WomenOfFaith #SacredPortraits #InnerStrength #ArtInFocus

🎨 The Fortune Teller (c.1597) Louvre, Paris We see the theft. He does not. Caravaggio flips the power dynamic: male vulnerability, female control. The real illusion isn’t the trick, it’s our belief we’re detached observers. #PowerAndGaze #GenderInArt #VisualDeception #BaroquePainting

🎨 Jupiter, Neptune, and Pluto (c.1597) Villa Ludovisi, Rome Caravaggio’s only ceiling painting, and NOT a fresco. Heavy bodies. Strained anatomy. Gods who dominate space through force, not perfection. Divinity, rendered physical. #CeilingArt #RadicalPerspective #MythologicalBodies #VisualDrama