Aktualizacja: Listopad 2026 · ranking według naszego wskaźnika popularności (liczba wyszukiwań, wizyt i zamówień dla każdego dzieła) · 14 dzieł Angelo Caroselli w naszym katalogu
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Według opinii kuratorów galerii, najsłynniejszym obrazem Angelo Caroselli jest Wenceslaus I, Duke of Bohemia (1628), którego oryginał znajduje się w Kunsthistorisches Museum w Wiedeń. Saint Jerome in the Wilderness (1625) i Singing man, possibly a self-portrait (1620) dopełniają trio, które zna każde oko. Z 14 dzieł Angelo Caroselli w naszym katalogu, galeria prezentuje poniżej 14 najsłynniejszych prac – każda z nich jest oryginałem z podaniem roku powstania, muzeum oraz cech wyróżniających ją na tle innych.
A heavy, red cloak spills across the floor like a pool of spilled wine. It gathers at the feet of Wenceslaus I, Duke of Bohemia, a man carved from light and deep shadow. He stands in a commanding pose, his body encased in dark metallic armor that catches the singular, directional light of the room. One hand reaches outward, an open gesture of supplication or perhaps a command to the…
The oil painting titled Saint Jerome in the Wilderness is a Baroque work by the Roman artist Angelo Caroselli. Created in Rome, Italy, the piece dates to about 1620-1630. It captures the theologian St. Jerome, who lived from approximately 340 to 420, during a period of intense spiritual focus.
A bearded man is captured in a moment of intense musical concentration, his gaze fixed upon a piece of sheet music held before him. The composition is an intimate close-up, focusing on the upper torso and head. A single light source cuts through the darkness, illuminating the side of his face and his hands while casting the rest of the figure into deep shadow. This use of chiaroscuro creates a…
Angelo Caroselli executed Madonna and Child with St. Lawrence and St. Stephen as a devotional work of religious art. The composition centers on the Virgin Mary and the Christ Child, flanked by the two saints. This piece belongs to the Baroque period, reflecting the stylistic shifts occurring in Rome during the seventeenth century.
The painting titled Allegory of Spring is an oil on canvas work created by the artist Angelo Caroselli. This piece belongs to the genre of allegory, utilizing symbolic figures to represent a specific concept or season. The subject matter is categorized as a genre painting, focusing on a figurative representation rather than a purely historical or religious narrative.
Angelo Caroselli captured the essence of the harvest in this Allegory of Autumn, a work dating to about 1630. The painting functions as one half of a seasonal dialogue, created as part of a pair alongside the work titled "Printemps." Together, these figures trace the cyclical movement of the year through the quietude of their gestures and the weight of their presence.
We are looking at the Allegory of Vanitas, a work painted by Angelo Caroselli in 1637. This piece is an oil on panel, a medium that allows for a specific kind of depth and texture in the rendering of skin and fabric. It is currently held within the collection of the Museum Boijmans Van Beuningen in Rotterdam, Netherlands.
The Necromancer is an oil on canvas portrait by the Roman Baroque painter Angelo Caroselli. Executed about 1649, the work belongs to a period in which the artist explored themes of witchcraft and sorcery. Caroselli, a self-taught painter who learned his craft through work as an art restorer and copyist, developed a style characterized by potent naturalism and the heavy use of chiaroscuro.
Angelo Caroselli’s "Rest on the Flight into Egypt" is not merely a depiction of a biblical passage; it is an immersive journey into the heart of Baroque drama, rendered with profound tenderness. The scene captures that pivotal moment when Mary cradles the infant Jesus amidst the arduous trek to Egypt. One can almost feel the dust of the road and hear the hushed whispers of the accompanying figures. Caroselli masterfully…
Cztery motywy najczęściej powracające w tych oryginałach, z których każdy doczekał się swojego najdoskonalszego przykładu.
7 muzeów, w których znajduje się najwięcej obrazów z tej strony.
| Muzea | Miasto | Dzieła artysty Angelo Caroselli | Obrazy z tej listy |
|---|---|---|---|
 Kunsthistorisches Museum |
Wiedeń | 2 | Wenceslaus I, Duke of Bohemia, Singing man, possibly a self-portrait |
 Walters Art Museum |
Baltimore | 2 | Saint Jerome in the Wilderness, Madonna and Child with St. Lawrence and St. Stephen |
 Musée Fesch |
Aix-en-Provence | 2 | Allegory of Spring, Allegory of Autumn |
 Museum Boijmans Van Beuningen |
Rotterdam | 1 | Allegory of Vanitas |
 Museo Civico |
Ancona | 1 | The necromancer |
 Galleria Nazionale d'Arte Antica |
Rzym | 1 | Rest on the Flight into Egypt |
 National Gallery |
Londyn | 1 | The Plague at Ashdod ( Poussin) |
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A heavy, red cloak spills across the floor like a pool of spilled wine. It gathers at the feet of Wenceslaus I, Duke of Bohemia, a man carved from light and deep shadow. He stands in a commanding pose, his body encased in dark metallic armor that catches the singular, directional light of the room. One hand reaches outward, an open gesture of supplication or perhaps a command to the…
The painting titled Allegory of Spring is an oil on canvas work created by the artist Angelo Caroselli. This piece belongs to the genre of allegory, utilizing symbolic figures to represent a specific concept or season. The subject matter is categorized as a genre painting, focusing on a figurative representation rather than a purely historical or religious narrative.
The Necromancer is an oil on canvas portrait by the Roman Baroque painter Angelo Caroselli. Executed about 1649, the work belongs to a period in which the artist explored themes of witchcraft and sorcery. Caroselli, a self-taught painter who learned his craft through work as an art restorer and copyist, developed a style characterized by potent naturalism and the heavy use of chiaroscuro.
Wenceslaus I, Duke of Bohemia (1628), Kunsthistorisches Museum, Wiedeń. Następne są Saint Jerome in the Wilderness (1625) oraz Singing man, possibly a self-portrait (1620).
43 lat: Wenceslaus I, Duke of Bohemia pochodzi z 1628, a Angelo Caroselli urodził(a) się w 1585.
Wenceslaus I, Duke of Bohemia, Saint Jerome in the Wilderness, Singing man, possibly a self-portrait, Madonna and Child with St. Lawrence and St. Stephen, Allegory of Spring, Allegory of Autumn, Allegory of Vanitas, The necromancer, Rest on the Flight into Egypt i Portrait of a Young Man in Armor, as Saint George. Powyższy ranking zawiera rok powstania oraz muzeum dla każdego z nich.
Nasz katalog zawiera 14 dzieł artysty Angelo Caroselli, datowanych od 1620 do 1649.
W większości znajdują się w Kunsthistorisches Museum (Wiedeń), Walters Art Museum (Baltimore) i Musée Fesch (Aix-en-Provence). Powyższa tabela muzeów zawiera ich pełną listę.
W 1620s: 4 z 14 dzieł na tej stronie powstało w tym czasie, w tym Wenceslaus I, Duke of Bohemia.
Na tej stronie najwcześniejszy to Singing man, possibly a self-portrait (1620), a najpóźniejszy The necromancer (1649).
Woman (5), Man (4) i Beard (2), w ramach 14 dzieł na tej stronie.
Oil On Canvas, dla 4 z 14 dzieł na tej stronie.
Baroque, sądząc po oryginałach na tej stronie.
Wenceslaus I, Duke of Bohemia i Singing man, possibly a self-portrait: Kunsthistorisches Museum, Wiedeń posiada 2 dzieł widocznych na tej stronie.
Angelo Caroselli was born in Rome, Italy, in 1585. Little is known about his early training; sources indicate he did not formally apprentice under a single master, a factor that would later influence the trajectory of his career. This lack of traditional grounding led to an eclectic style and a somewhat precarious professional life.
Caroselli operated during the Baroque period, and his work reflects the dynamism and dramatic flair characteristic of that era. He was significantly influenced by two key artistic currents: Caravaggism – the style pioneered by Michelangelo Merisi da Caravaggio, emphasizing strong contrasts of light and shadow (tenebrism) and realistic depictions – and the Bamboccianti, a group of Dutch and Flemish painters in Rome known for their genre scenes depicting everyday life. His style blended these influences, resulting in works that were both dramatic and grounded in reality.
Caroselli’s career was marked by instability. Contemporary accounts, particularly those of Giovanni Battista Passeri, describe him as lacking consistent patronage. He traveled to Naples and Piedmont de Liso seeking employment, but his independent nature and perhaps a somewhat questionable reputation hindered his success. A notable incident involved accusations of creating forgeries in the style of established masters, further complicating his professional life.
Caroselli experienced personal loss, being widowed twice. His second marriage connected him to a prominent artistic family; he married Brigitta Lauwers, daughter of the Flemish landscape painter Balthasar Lauwers, becoming brother-in-law to Filippo and Francesco Lauwers. He also trained pupils including Pietro Paolini and his son Carlo Caroselli.
While not as widely celebrated as some of his Baroque contemporaries, Angelo Caroselli represents an interesting facet of Roman art during the 17th century. His eclectic style and independent spirit set him apart. He demonstrates the diverse artistic currents flowing through Rome at the time and provides insight into the challenges faced by artists operating outside established patronage networks. His pupils continued to spread his influence, ensuring a modest but lasting legacy.
