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The Crucifixion of Saint Peter (Italian: Crocifissione di san Pietro) is a work by Michelangelo Merisi da Caravaggio, painted in 1601 for the Cerasi Chapel of Santa Maria del Popolo in Rome. Across the chapel is a second Caravaggio work depicting the Conversion of Saint Paul on the Road to Damascus (1601).
The Crucifixion of Saint Peter is a fresco painting by the Italian Renaissance master Michelangelo Buonarroti (c. 1546–1550). It is housed in the Cappella Paolina, Vatican Palace, in the Vatican City, Rome. It is the last fresco executed by Michelangelo.
The first influential art critic who dismissed the painting was Giovanni Pietro Bellori. In 1672 he wrote in The lives of the modern painters, sculptors and architects about the Cerasi Chapel: "Caravaggio executed the two lateral paintings, the Crucifixion of Saint Peter and the Conversion of Saint Paul; whose history is completely bereft of ...
Battistello Caracciolo, The Liberation of St Peter, oil on canvas, Church of the Pio Monte della Misericordia (Naples) According to the account in the Gospels (Matthew 26:69–75; Mark 14:66–72; Luke 22:55–62; John 18:17–18, 25–27), when Christ was arrested Peter followed him into the courtyard "to Annas, who was the father-in-law of Caiaphas, the high priest that year" (following John ...
The painting, together with a Crucifixion of Saint Peter, was commissioned by Monsignor (later Cardinal) Tiberio Cerasi, Treasurer-General to Pope Clement VIII, in September 1600. According to Caravaggio's early biographer Giovanni Baglione, both paintings were rejected by Cerasi, and replaced by the second versions which hang in the chapel ...
The crucifixion of Jesus is one of the most illustrated events in human history.. For centuries, artists have reimagined it as a form of remembrance and as a means to convey the story of brutality ...
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The relationship between the paintings of Caravaggio and Carracci in the chapel is a perpetual subject of discussion in art history. It seems probable that each artist "subtly altered his style of painting as a result of this direct confrontation with the other", and "Annibale's monumental saints, whose hands and feet seem to pierce the picture ...
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