Caravaggio (da-Caravaggio) – nicknamed the two Italian artists: 1) Polidori Caldara (ymer 1543). Having arrived in Rome without any means of livelihood, he became a bricklayer, but by working in the Vatican and is constantly confronted by Raphael and his pupils. began to study painting. Soon, as studied in it, which could, together with his friend Maturin, decorate works sgraffitto facades of many of the Roman palaces, and these have come down to us only prints, friezes, historical or mythological different archaeological precision parts, drawing vitality and finesse finish. In 1527, he arrived in Naples, and not only found a job, but even founded his own school. By this time, is now kept in Naples muses. his picture: "Carrying the Cross", marked by common realism, influenced later in the direction of the Neapolitan school. The same success met the artist and his relocation to Messina, where he later died at the hands of killers. His paintings are rare. One of them – "Gladiator" – in the Imperial. Hermitage (1647).
2) Michelangelo Amerigo (Amerighi), and also Amerige Merisi (in 1569 – 1609), the son of a bricklayer, started his career as his father's profession;. received initial training in art in Milan, zealously imitated Giorgione in Venice, was a disciple of Cesari in Rome, where, in 1606, he was forced to flee, just like the many other places, owing to different clashes, which falls through because of their unbridled like and which often ended in the death of his opponents. After receiving a pardon from the pope, he died on the way from Naples to Rome. In the artistic activity K. noticed two epochs. The first belongs to the majority of its domestic paintings: scenes of popular life, images, taverns, with their regulars, Roma players in the cards and dice, soldier, strongly resembling the robbers, and other suspected persons, among whom was often necessary to rotate the artist. They include, among other things, include: "sybil" (in the Capitol Museum), "Shuler (gal. Shyarra, in Rome)," Girl, playing the lute "(in Liechtenstein. Gal., In Vienna)," mandolin "( ¼ 217, in the Empire. Hermitage), and "Rest on the Flight into Egypt" (Gal. Doria, Rome). The works of this period differ subtle observation, vivid realism and a beautiful, bright, golden color, close to the coloring of the Venetians. Since the stay in Rome K. noticeable turn in his way to the second style, affects severity of light and shadow densities; deficiencies in the manner some will swim the energy expression and the original force of color and chiaroscuro. To this period belong most of his large religious paintings, as for example. "Calling an. Matthew", "Martyrdom of St. Matthew" (in the church of St. Louis, in Rome), "Handling Pref. Paul", "The Crucifixion of St. Peter" (in S. Maria del Popolo, in Rome), "The Assumption of the Virgin" (in the Louvre), "Christ in Emmaus" (in Nat. gal., London), "The Entombment" (the Vatican), "The wedding of Christ with thorns" (in the Imperial. Hermitage ¼ 215), "Torment Pref. Peter" (ibid., £ 216). Portraits, emerged from under the brush, K., under normal technical merits, not suffer fine transfer of the individual nature of the depicted persons ("Portrait of a Man", 218 ¼, in the Imperial. Hermitage). The value of K in the art lies mainly in its quest to reproduce nature in the raw, what it is – in a naturalistic tendencies, which he stabbed mannerisms of the old Italian masters of his time, and declared an uncompromising war on numerous followers Bolognese academic school.