The Cleveland Museum of Art

Collection Online as of March 29, 2024

The Crucifixion of Saint Andrew

The Crucifixion of Saint Andrew

1606–7
(Italian, 1571–1610)
Framed: 233.5 x 184 x 12 cm (91 15/16 x 72 7/16 x 4 3/4 in.); Unframed: 202.5 x 152.7 cm (79 3/4 x 60 1/8 in.)

Did You Know?

Although Saint Andrew is typically associated with an X-shaped cross, here he is depicted on a standard vertical cross.

Description

Saint Andrew’s efforts to introduce Christianity to Greece in the first century CE were met with hostility from local authorities. He was sentenced to die on the cross because he refused to acknowledge pagan gods. For two days, Andrew preached from his martyr’s station to an increasingly sympathetic crowd. Bowing to public demand, Andrew’s would-be executioners attempted to untie him, but their hands were mysteriously paralyzed. Andrew’s desire for martyrdom was thus fulfilled and he died enveloped in divine light. Caravaggio’s innovative interpretation involves the viewer more closely in the event by presenting the crucifixion as intimate and private, rather than as a gruesome public spectacle. Bold contrasts of light and dark suggest the presence of God. A masterpiece of Baroque painting, Caravaggio’s Crucifixion of Saint Andrew is the only altarpiece by the artist in America.
  • Beginning in 2014 and completed in 2016, the painting received a comprehensive conservation treatment to address lingering and critical aesthetic issues that were created by a restoration from 1974—two years before the painting entered the CMA collection. In an attempt to create a more even and level surface, the 1974 treatment used layers of different varnish coatings to fill in the heavily cracked paint layer. Over time, this strategy failed, as movement in the underlying original paint and ground layers telegraphed through, creating a dense network of distracting surface cracking in the varnish. Because of the painting’s importance, a three-month conservation exhibition in the Julia and Larry Pollock Focus Gallery was designed to explain the conservation issues to the public and allow visitors to observe the initial removal of the old varnish. The rest of the treatment was completed in the paintings conservation lab over the next two years. While the main focus of the conservation was to correct the aesthetic problems created by the previous treatment, the opportunity to conduct the first in-depth technical and scientific analysis of the painting was equally important. This extensive study, entitled Conserving Caravaggio’s Crucifixion of Saint Andrew: A Technical Study, was originally published on a digital platform for iPads and tablets. Caravaggio used a single piece of a diamond weave canvas, possibly a tablecloth linen, which can easily be seen when zooming in on the X-radiograph. This canvas was carefully prepared with a double ground. First, a thick, aqueous, brown ground composed of earth pigments was applied over the canvas. This was followed by a second, thinner, and slightly darker ground layer composed of the same pigment mixture, though bound in a drying oil. After the preparation of the ground, Caravaggio began laying out the composition by cutting fine incisions into the ground layer. These fine incisions were used to roughly establish the position of the figures and can be found in several other paintings by the artist. These allusive incisions are apparent in raking light and in the X-ray where lead white was used to initially lay in the highlights of the drapery folds and anatomy of the figures. These initial strokes of the lead white (X-ray blocking) pigment, also referred to as the abozzo, were laid over top, filling in the incisions, which is why they are visible in the X-ray. Around the same time the abozzo was applied, darker, nearly black outlines were used around the figures. These dark paint strokes can be seen in the infrared reflectogram (IRR). After these highlights and shadows were positioned, Caravaggio skillfully manipulated opaque and transparent pigments to create gradations and nuances in the figures, garments, and draperies. Caravaggio used a fairly limited palette for this painting. The red cloth over Saint Andrew was found to contain lead white, umber, and vermilion with glazes of red lake. Small amounts of azurite added to earth pigments were used in the gown of the old woman on the left. The trousers of the executioner on the ladder contains lead-tin yellow type II. The garment of the figure on the far right is composed of red ochre with dark red lake glazes in the darker folds. Flesh tones are mostly composed of lead white, yellow ochre, and red ochre with trace amounts of green earth in the figure of Saint Andrew. Once prior varnishes and overpaint were removed from the original surface, the paint layer could finally be properly saturated with a reversible conservation-grade varnish. Areas of loss were filled and textured to match the aged and cracked surface of the original paint layer. After the fills were sufficiently textured, they were toned to match the dark umber color of the original ground as a base for inpainting, which was executed with a reversible conservation paint. The entire painting then received an overall application of a final varnish to produce the desired amount of surface gloss. For more in-depth information about Caravaggio’s pigments and about the treatment of this painting, please refer to the archived application.
  • Don Juan Alonso Pimentel y Herrera, Eighth Conde de Benavente, Spanish viceroy in Naples from 1603 until July 1610
    Don Juan Francisco Alonso Pimentel y Ponce de Léon (grandson of above, inherited) Tenth Conde de Benavente, Valladolid
    An unidentified convent in Castilla, Spain
    A. Tors, Madrid
    José Manuel Arnaiz, Madrid, 1973.
  • Zahn, Leopold, and Georg Kirsta. Caravaggio. Berlin: Albertusverlag, 1928. Mentioned: P. 55
    Longhi, Roberto. "Ultimi Studi Sul Caravaggio e la Sua Cerchia." Proporzioni I (1943): 5-63. Mentioned: P.17-18
    García Chico, Esteban. "El palacio del Conde de Benavente" In Boletin de la Academia de Bellas Artes de la Purisma Concepcion de Valladolid IX (1946): 13-30. Reproduced: no. 18
    García Chico, Esteban. "Varios Inventarios." Documentos Para el Estudio del Arte en Castilla 3, pt. 1 (1946): 385-399. Mentioned: P. 393
    Ainaud, J. "Ribalta Y Caravaggio." Anales Y Boletín De Los Museos De Arte De Barcelona / Ayuntamiento De Barcelona V (1947): 345-413. Mentioned: P. 366, 380, 381 n. 59, 382, 406
    Green, Otis H., and Denis Mahon. "Caravaggio's Death: A New Document." The Burlington Magazine 93, no. 579 (June 1951): 202-04. Mentioned: P. 203, n. 5 www.jstor.org
    Mahon, Denis. "Addenda to Caravaggio." The Burlington Magazine 94, no. 586 (January 1952): 3-23. Mentioned: P. 19 www.jstor.org
    Hinks, Roger. Michelangelo Merisi Da Caravaggio: His Life, His Legend, His Works. London: Faber and Faber, 1953. p. 120; Reproduced: plate no. 96
    Baumgart, Fritz. Caravaggio: Kunst und Wirklichkeit. Berlin: Gebr. Mann, 1955. p. 44, 108; Reproduced: plate no. 61
    Réau, Louis. Iconographie de l'Art Chrétien. Paris: Presses Universitaires de France, 1955. Mentioned: Vol. III, pt. 1, p. 80, 83
    Soehner, Halldohr. "Die Malerei in Spanien und Frankreich um Caravaggio." Kunstchronik VIII (1955): 249-253. Mentioned: P. 250
    Ainaud, Juan. 1955. "Le Caravagisme en Espagne". Cahiers De Bordeaux/ Journées Internationales D'Etudes D'Art II (1955): 21-26. Mentioned: P. 22
    Friedlaender, Walter. 1955. "Réflexions sur les Problèmes Posés à l'Exposition". Cahiers De Bordeaux/Journées Internationales D'Etudes D'Art II (1955): 27-30.
    Jullian, Rene. "Caravage a Naples." La Revue des Arts V (June 1955): 79-90. Mentioned: P. 84, 88, 90, n. 21
    "Ein Hauptwerk Caravaggios Wiederentdeckt." Die Weltkunst XXV, no. 14 (July 15, 1955): 9. Mentioned and reproduced: P. 9
    Merisi da, Michelangelo and Costantino Baroni. Tutta la pittura del Caravaggio. A cura di Costantino Baroni. Milano, Italy: Rizzoli, 1956. Reproduced: p. 24
    Samek Ludovici, Sergio. Vita del Caravaggio: dalle testimonianze del suo tempo. Milano, Italy: Edizioni del Milione, 1956. Reproduced: p. 69, no. 105
    Wagner, Hugo. Michelangelo da Caravaggio. Bern, Switzerland: Eicher, 1958. Reproduced: p. 233
    Back-Vega, Emmerich, and Christa Back-Vega. "A Lost Masterpiece by Caravaggio." The Art Bulletin 40, no. 1 (March 1958): 65-66. Mentioned: P. 65-66 www.jstor.org
    Longhi, Roberto. "Un'Opera Estrema del Caravaggio." Paragone IX, no. 111 (March 1959): 21-32. Mentioned: P. 27-29
    Guinard, Paul. Zurbarán et les peintres espagnols de la vie monastique. Paris, France: Éditions du Temps, 1960. Reproduced: p. 19
    Longhi, Roberto. "Un Originale del Caravaggio a Rouen e il Problema Delle Copie Caravaggesche." Paragone XI, no. 121 (January 1960): 23-36. Mentioned: P. 35
    Jullian, René. Caravage. Paris, Lyon: Editions IAC, 1961. Mentioned: p. 174; Reproduced: p. 181, no. 37
    Delogu, Giuseppe. Caravaggio. Milano, Italy: "Silvana" Editoriale d'Arte, 1962. Reproduced: p. 158
    Venturi, Lionello. Il Caravaggio. Novara: Istituto geografico de Agostini, 1963. Mentioned: P. 33
    Kitson, Michael. The Complete Paintings of Caravaggio. New York. NY: Harry N. Abrams, Inc, 1967. Reproduced: p, 105, under no. 77
    Moir, Alfred. The Italian Followers of Caravaggio. Cambridge, MA: Harvard University Press, 1967. Reproduced: pl. 158, vol. I
    Bodart, Didier. Louis Finson / Bruges, avant 1580-Amsterdam, 1617. Brussels, Belgium: Palais des Academies, 1970. Reproduced: p. 15; Mentioned: p. 137
    Caravaggio, Michelangelo Merisi da, Gian Alberto Dell'Acqua, and Mia Cinotti. Il Caravaggio e le sue grandi opere da San Luigi dei Francesi. Milano, Italy: Rizzoli, 1971. Reproduced: p. 136, and 199 no. 512
    Valdivieso, Enrique. La Pintura en Valladolid en el siglo XVII. Valladolid: [Diputación Provincial], 1971. Mentioned: P. 19, n. 2
    Marini, Maurizio. "Tre Proposte per il Caravaggio Meridionale." Arte Illustrata XLIII-XLIV (Sept/Oct 1971): 56-65. Mentioned: P. 56-58
    Causa, Raffaello. La Pittura del Seicento a Napoli dal Naturalismo al Barocco; La Natura Morta a Napoli nel Sei e nel Settecento. [Napoli]: Società Editrice Storia di Napoli, 1972. Mentioned: P. 916
    Marini, Maurizio. Io Michelangelo da Caravaggio. Roma: Studio B di Bestetti e Bozzi, 1973. p. 235, 433-435; Reproduced: p. 235, no. 72
    Cinotti, Mia. Immagine del Caravaggio. Mostra didattica itinerante. Catalogo. Cinisello Balsamo: Pizzi, 1973. Mentioned: p.99, no. 60
    Mariani, Valerio. Caravaggio. Roma, Italy: Istituto poligrafico dello Stato, Libreria, 1973. Reproduced: p. 112
    Sanchez, Alfonso E. Pérez. Caravaggio y el naturalismo español: exposición realizada con motivo del XXIII Congreso Internacional de Historia del Arte, Sevilla, Sala de Armas de los Reales Aleazares, septiembre-octubre 1973. Madrid, Spain: Comisaría General de Exposiciones, Dirección General de Bellas Artes, Ministerio de Educación y Ciencia, 1973. Mentioned in unpaginated introduction.
    Borea, Evelina. "Caravaggio e la Spagna: osservazioni su una mostra a Siviglia." Bollettino D'Arte LIX, n. 1-2, ser. V (1974): 43-52. p. 44
    Friedlaender, Walter. Caravaggio Studies. Princeton, NJ: Princeton University Press, 1974. Reproduced: p. 254; Mentioned: p. 210
    Harris, Enriqueta. "Caravaggio e il Naturalismo Spagnolo." Arte Illustrata VII, no. 58 (1974): 233-245. Reproduced: P. 237, fig. 3
    Nicolson, Benedict. "Caravaggio and the Caravaggesques: Some Recent Research." The Burlington Magazine 116.859 (October 1974): 603-616. p. 602, 605, 607-608; Reproduced: p. 605, no. 55
    Bellori, Giovan Pietro. Le vite de' pittori, scultori e architetti moderni. Edited by Evelina Borea. Torino: Giulio Einaudi, 1976. p. 232-233
    "Notizen." Alte und Moderne Kunst XXI, no. 146 (1976): 42-43. Mentioned and reproduced: P. 42-43
    Cleveland Museum of Art, “Recent Acquisition Press Release,” April 8, 1976, Cleveland Museum of Art Archives. archive.org
    Llewellyn, Briony, and Charles McCorquodale. "In the Light of Caravaggio." The Connoisseur (June 1976): 110-113. Mentioned: P. 113
    "La Vie des Arts." L'Œil 251 (June 1976): 48-54. Mentioned and reproduced: P. 48
    "Patrimoine." Connaissance des Arts (July 1976): 15. Mentioned and reproduced: P. 15
    Butler, Joseph T. "America: Recent Major Museum Acquisitions." Connoisseur (August 1976). p. 312-313
    "Chronique des Arts." Gazette des Beaux-Arts 88 (September 1976): 5-9. Mentioned: P. 7
    Lurie, Ann Tzeutschler in collaboration with Dennis Mahon. "Caravaggio's Crucifixion of Saint Andrew from Valladolid." The Bulletin of The Cleveland Museum of Art LXIV, no. 1 (January, 1977):3-24. Reproduced: cover, p. 4, fig. 1; Detail; pp. 6-24
    “Other Museum News and Comments.” Art Journal 36, no. 4 (July 15, 1977): 344-354. Mentioned: P. 352
    Pacelli, Vincenzo. "New Documents Concerning Caravaggio in Naples." The Burlington Magazine 119, no. 897 (December 1977): 819-29. Mentioned: P. 826, 829, n. 33 www.jstor.org
    The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1978. Cleveland, OH: The Cleveland Museum of Art, 1978. Reproduced: p. 135 archive.org
    Bardon, Françoise. Caravage: ou, L'expérience de la matière. Paris, France: Presses universitaires de France, 1978. Reproduced: p. 208-209, no. 25
    Marini, Maurizio. Michael Angelus Caravaggio Romanus: rassegna degli studi e proposte. Roma, Italy: De Luca, 1978. Mentioned: P. 16-19, 22,36, 43
    Prohaska, Wolfgang. "Beiträge zu Giovanni Battista Caracciolo."Jahrbuch der Kunsthistorischen Sammlungen in Wien LXXIV (N. F. XXXVIII) (1978): 153-269. Mentioned and reproduced: P. 176, fig. 152
    Borowitz, Helen. "Making Rounds at The Cleveland Museum of Art." The Bulletin of the Cleveland Medical Library XXIV, no. 3 (July 1978): 53-67. Reproduced: P. 60
    Lopez-Rey, Jose. Velazquez: The Artist As a Maker, with a Catalogue Raisonné of His Extant Works. Lausanne; Paris: Bibliothéque des Arts, 1979. p. 24, 156
    Nicolson, Benedict. The International Caravaggesque Movement: Lists of Pictures by Caravaggio and His Followers Throughout Europe from 1590 to 1650. Oxford, United Kingdom: Phaidon, 1979. Reproduced: p. 32, detail, p. 4
    Guillaume, Marguerite. Peintures italiennes: catalogue raisonné du Musée des beaux-arts de Dijon. Dijon, France: Le Musée, 1980. Reproduced: p. 17-18 under no. 27
    Gash, John. Caravaggio. London, United Kingdom: Jupiter, 1980.. Mentioned: p. 110-111, Reproduced: no. 54
    Marini, Maurizio. Caravaggio e il Naturalismo Internazionale. Torino: Einaudi, 1981. Mentioned: P. 369, n. 24; reproduced: P. 417, fig. 238
    Moir, Alfred. Caravaggio. New York: H.N. Abrams, 1982. p. 142-143; Reproduced: p. 143, color pl. 40
    The Cleveland Museum of Art. The Cleveland Museum of Art Catalogue of Paintings, Part 3: European Paintings of the 16th, 17th, and 18th Centuries. Cleveland, OH: The Cleveland Museum of Art, 1982. Mentioned: p. 319-323; Reproduced: p. 320
    Wood, Jeremy. "London, Royal Academy of Art Exhibition: Painting in Naples from Caravaggio to Giordano." Pantheon XL, no. 4 (October-December 1982): 330-331. Mentioned: P. 30
    Whitfield, Clovis, and Jane Martineau. Painting in Naples, 1606-1705: From Caravaggio to Giordano. London: Royal Academy of Arts in association with Weidenfield and Nicolson, 1982. p. 21, 37, 38, 40, 70, 128-30; Reproduced: p. 70, no. 17
    Von Gehren, Georg. "Malerei in Neapel von Caravaggio bis Giordano." Die Weltkunst. The World-art Review LII (December 1982): 3470-3473. Mentioned and reproduced: P. 3471
    Hibbard, Howard. Caravaggio. New York: Harper & Row, 1983. p. 219, 220, 221, 223, 249, 291, 324-25, 328, 330; Reproduced: p. 220, no. 144
    Cinotti, Mia, and Gian Alberto Dell'Acqua. "Michelangelo Merisi detto il Caravaggio". I Pittori Bergamaschi 4,1 (1983): 203-641. Mentioned: P. 420-423; reproduced: P. 620, fig. 1
    Borowitz, Helen O. "A Medical Tour Through The Cleveland Museum of Art." Cleveland Clinic Quarterly 50, no. 4 (Winter 1983):Cleveland: Cleveland Clinic, 1959. Mentioned: P. 426; rep;rd
    Pacelli, Vincenzo. Caravaggio, le sette opere di misericordia. Salerno, Italy: 10/17, 1984. Mentioned: p. 79; Reproduced: p. 105, no. 12, fig. 51
    Bonsanti, Giorgio, Michelangelo Merisi da Caravaggio, and Karin Stephan. Caravaggio. Antella, Florence, Italy: Scala, 1984. Mentioned: p. 59; Reproduced: p. 66, pl. 64
    Spinosa, Nicola. La Pittura napoletana del '600. Milano, Italy: Longanesi, 1984. Reproduced: p. 533
    Brigstocke, Hugh. The Burlington Magazine 126, no. 970 (January 1984): 42-45. Mentioned: P. 45 www.jstor.org
    Schloder, John E. Baroque Imagery. Cleveland, OH: Cleveland Museum of Art, 1984. Mentioned: p. 39-41; Reproduced: p. 54, no. 15
    Metropolitan Museum of Art. New York, NY and Museo e gallerie nazionali di Capodimonte, Naples, Italy. The Age of Caravaggio. New York, NY: Metropolitan Museum of Art, 1985. Mentioned: p. 21, 47, 345-349; Reproduced: P. 349
    Harris, Dale. "Rebel with a Cause: Caravaggio Defied the Conventions of Life and Art". Connoisseur (February 1985). p. 52-54, 56
    Spike, John T. “The Age of Caravaggio.” Apollo: The International Magazine for Collectors 121 (June 1985): 415–17. Mentioned: P. 417
    Sutton, Peter C. A Guide to Dutch Art in America. Washington, DC: Netherlands-American Amity Trust, 1986. Reproduced: p. 64
    Christiansen, Keith. "Caravaggio and "L'esempio Davanti Del Naturale"." The Art Bulletin 68, no. 3 (September 1986): 421-45. Mentioned: P. 436
    Marini, Maurizio. Caravaggio: Michelangelo Merisi da Caravaggio "pictor praestantissimus": la tragica esistenza, la raffinata cultura, il mondo sanguigno del primo Seicento, nell'iter pittorico completo di uno dei massimi rivoluzionari dell'arte di tutti i tempi. Roma: Newton Compton, 1987. Reproduced: p. 273-273; Mentioned P. 520-524
    Calvesi, Maurizio, and Lucia Trigilia. L'Ultimo Caravaggio: e la cultura artistica a Napoli, in Sicilia e a Malta. Siracusa, Italy: EDIPRINT, 1987.
    Ottino Della Chiesa, Angela. Tout l'oeuvre peint du Caravage. Paris, France: Flammarion, 1988.
    La Pittura in Italia. Milano: Electa, 1988. Mentioned: vol. II, p. 464
    Milesi, Silvana. Caravaggio. Bergamo: Corponove, 1989. Reproduced: p. 194, no. 3
    Calvesi, Maurizio. Le realta del Caravaggio. Torino: G. Einaudi, 1990. p. 144-145, 149, 163, 373, 381, 427; Reproduced: p. 427, no. 241
    Nicolson, Benedict, Luisa Vertova, and Benedict Nicolson. Caravaggism in Europe. Torino, Italy: U. Allemandi, 1990. Reproduced: p. 80, vol. 2, pl. 65; Detail: pl. 73
    Heimburger, Minna. "Interpretazioni Delle Pitture di Genere del Caravaggio Secondo il Metodo Neerlandese." Paragone: Mensile di Arte Figurativa e Letteratura XLI, no. 24 (November 1990): 3-110. Reproduced: fig. 17
    Spear, Richard E. Caravaggio and His Followers. Cleveland, OH: Cleveland Museum of Art, 1971. Reproduced: p. 93
    Cleveland Museum of Art. Interpretations: Sixty-Five Works from the Cleveland Museum of Art. Cleveland, OH: The Cleveland Museum of Art, 1991. Reproduced: no. 17
    Gregori, Mina. Michelangelo Merisi da Caravaggio: come nascono i capolavori. Milano, Italy: Electa, 1991. Mentioned: p. 22, 32, 36, 301; Reproduced: figs. 23,25,29, 344
    Cinotti, Mia. Caravaggio: la vita e l'opera. Bergamo, Italy: Edizioni Bolis, 1991. Mentioned: p. 219; Reproduced: no. 69
    Bologna, Ferdinando, and Battistello Caracciolo. Battistello Caracciolo e il primo naturalismo a Napoli. Napoli, Italy: Electa, 1991. Reproduced: p. 33, fig. 31
    Pérez Sánchez, Alfonso E. El Siglo de Oro de la pintura española. Madrid, Spain: Mondadori España, 1991. Reproduced: 9. 53, fig. 3
    Bologna, Ferdinando. L'incredulità del Caravaggio e l'esperienza delle "cose naturali". Torino, Italy: Bollati Boringhieri, 1992. Mentioned: p. 333-334, Reproduced: pl. 30, no. 70
    Chong, Alan. European & American Painting in the Cleveland Museum of Art: A Summary Catalogue. Cleveland, OH: Cleveland Museum of Art, 1993. Reproduced: p. 28
    Pacelli, Vincenzo. L'ultimo Caravaggio: dalla Maddalena a mezza figura ai due san Giovanni (1606-1610). Todi (Perugia): Ediart, 1994. p. 38-39, 50, 52-53, 80, 146
    Gilbert, Creighton. Caravaggio and His Two Cardinals. University Park, PA: Pennsylvania State University Press, 1995. Mentioned: pp. 23, 169, 266
    Frèches, José. Le Caravage, peintre et assassin. Paris, France: Gallimard, 1995. Mentioned: p. 116; Reproduced: p. 117
    Caravaggio: eine Fondacc-Forschung : Verifikation 1995. Hof, Austria: Fondacc-Forschung, 1995. Mentioned: p. 31; Reproduced: p. 136
    Macioce, Stefania. Michelangelo Merisi da Caravaggio: la vita e le opere attraverso i documenti : atti del Convegno internazionale di studi. Roma, Italy: Logart Press, 1996. Reproduced: p. 307, fig. 146
    König, Eberhard. Michelangelo Merisi Da Caravaggio 1571-1610. Cologne: Könemann, 1997. Reproduced: p. 124, no. 108
    Jeromack, Paul. "Met Buys Caravaggio By Installments." The Art Newspaper 72 (July-August 1997). p. 9
    Puglisi, Catherine R. Caravaggio. London: Phaidon, 1998. p. 347-348; Reproduced: p. 340, no. 173
    Weller, Dennis P., Leonard J. Slatkes, and Roger B. Ward. Sinners & Saints: Darkness and Light : Caravaggio and His Dutch and Flemish Followers. Raleigh, NC: North Carolina Museum of Art, 1998. Reproduced: p. 206, no. 5
    Mormando, Franco. Saints & Sinners: Caravaggio & the Baroque Image. Chestnut Hill, MA: McMullen Museum of Art, Boston College, 1999. Reproduced: p. 201, fig. 23
    Causa, Stefano. "Gli Amici Nordici Del Caravaggio a Napoli." Prospettiva, no. 93/94 (January-April 1999): 142-57. Mentioned and reproduced: P. 150, fig. 14 www.jstor.org
    Marini, Maurizio. "Caravaggio y España: Momentos de Historia y de Pintura entre la Naturaleza y la Fe." In Caravaggio: Museo Nacional del Prado, 21 septiembre-21 noviembre, 1999: Museo de Bellas Artes de Bilbao, 29 noviembre, 1999-23 enero, 2000. Claudio M. Strinati, and Rossella Vodret Adamo, eds., 29-48. Madrid: Sociedad Electa de España, 1999. Reproduced: P. 35
    Causa, Stefano. Battistello Caracciolo: l'opera completa. Naples: Electa Napoli, 2000. p. 40-41, 129, 361; Reproduced: p. 40, no. 40
    Resca, Giuseppe. La spada e la misericordia: Caravaggio e il demone della violenza. Roma: Armando, 2001. p. 20, 67, 175; Reproduced: p. 175, fig. 47
    Hall & Knight Ltd, and Nicholas H. J. Hall. MMI. Exh. cat. Hall & Knight Ltd., London, New York. London: Hall & Knight Ltd, 2001. Reproduced: p. 21, fig. 16
    May, Sally Ruth, Jane Takac, and Barbara J. Bradley. Knockouts: A Pocket Guide. Cleveland, OH: Cleveland Museum of Art, 2001. Reproduced: p. 37, no. 33
    Hall, Nicholas H. J. MMI: [Exhibition]. New York: London: Hall & Knight Ltd, 2001. Reproduced: P. 21, fig. 16
    Pacelli, Vincenzo, and Michelangelo Merisi da Caravaggio. L'ultimo Caravaggio, 1606-1610: il giallo della morte: omicidio di Stato? Todi Perugia, Iitaly: Ediart, 2002. Reproduced: pl. V, VI
    Gash, John. Caravaggio. London: Chaucer, 2003. Reproduced: p. 109, no. 61
    Cassani, Silvia and Maria Sapio. Caravaggio: l'ultimo tempo, 1606-1610. Napoli, Italy: Electa Napoli, 2004. Reproduced: p. 31, fig. 6 and p. 173, fig. 9
    Harris, Ann Sutherland. Seventeenth-Century Art & Architecture. London: Laurence King Publishing Ltd., 2005. p. 134-135; Reproduced: p. 135, no. 1.134.
    Pagano, Denise Maria. Caravaggio a Napoli: dalle Opere di Misericordia alla Sant'Orsola trafitta tecnica e restauri. Naples, Italy: Electa Napoli, 2005. Reproduced: p. 173, no. 9
    López, Mercedes Simal. "Don Juan Alfonso Pimentel, VIII Conde-Duque de Benavente, y el Coleccionismo de Antigüedades: Inquietudes de un Virrey de Nápoles (1603-1610)." Reales Sitios XLII, no. 164 (2005): 30-49. Mentioned and reproduced: P. 37
    Cassani, Silvia, Maria Sapio, Paolo Altieri, Enrica D'Aguanno, Gianni Manna, Mark Weir, and Ferdinando Bologna. Caravaggio: the final years. Naples: Electra Napoli, 2005. Reproduced: p. 173, no. 9
    Morel, Guillaume. "La Sublime Violence du Caravage." L'Œil (May 2005): 70-75. Mentioned and reproduced: P. 72-73
    Varriano, John L. Caravaggio: The Art of Realism. University Park, Pa: Pennsylvania State University Press, 2006. p. 57, 112, 240; Reproduced: p. 240, fig. 49
    Miyashita, Kikuro. Karavajjo. Tokyo: Shogakukan, 2006. Reproduced: p. 110
    Harten, Jürgen, Jean Hubert Martin, and Denis Mahon. Caravaggio: Originale und Kopien im Spiegel der Forschung. Ostfildern: Hatje Cantz, 2006. Reproduced: P. 173-174
    Dibbits, Taco. "Prologue: Caravaggio, the Utrecht Caravaggisti and the Young Rembrandt." In Rembrandt, Caravaggio. Duncan Bull, ed., 30-51. Zwolle: Waanders, 2006. Reproduced: P. 30, 33
    Donley, Gregory M., "World Travelers", Cleveland Museum of Art. Cleveland Art: The Cleveland Museum of Art Members Magazine. Vol. 46 no. 01, January 2006 Mentioned & reproduced: p. 6 archive.org
    Iacono, Margaret, ed. Masterpieces of European Painting from the Cleveland Museum of Art. New York: The Frick Collection, 2006. p. 36-39; Reproduced: p. 36, no. 6
    Gabriel, Theodore, and Ron Geaves. ...isms: Understanding Religion. New York: Universe, 2007. Reproduced: p. 38
    Sgarbi, Vittorio. Caravaggio. Milano: Skira; London: Thames & Hudson, 2007. p. 158-159
    Jover, Manuel. Caravaggio. Paris: Terrail, 2007. p. 220-221; Reproduced: p. 221
    Pichler, Wolfram. "Il dubbio e il doppio: le evidenze in Caravaggio." In Caravaggio e il suo ambiente: ricerche e interpretazioni, edited by S. Ebert-Schifferer and Veronika Birbaumer. Cinisello Balsamo, Milano: Silvana, 2007. p. 9, 11; Reproduced: p. 11, no. 3
    Ferriss, J. Barry. The Many Reasons Why Goiter Is Seen in Old Paintings: Commentary. New York: Mary Ann Liebert, Inc, 2008. p. 389, 391; Reproduced: p. 391, fig. 10
    Muñoz González, María Jesús. El mercado español de pinturas en el siglo XVII. Madrid: Fundación Caja Madrid, 2008. Reproduced: p. 183, no. 112
    Harris, Ann Sutherland. Seventeenth-Century Art & Architecture. London: Laurence King Pub, 2008. Reproduced: p. 134, no. 1.137
    Venier, Pierpaolo, and Fernando Noris. Caravaggio Drammaturgo: Lettura teatrale dell'opera pittorica. Azzano San Paolo (Bergamo): Bolis, 2009. p. 132-133; Reproduced: p. 133
    Zuccari, Alessandro. Caravaggio Controluce: Ideali e Capolavori. Milano: Skira, 2011. Reproduced: p. xviii, fig. 22
    Vodret Adamo, Rossella. Caravaggio. Cinisello Balsamo (Milano): Silvana, 2009. p. 200-201; Reproduced: p. 201, no. 119
    Schutze, Sebastian. Caravaggio: The Complete Works. Cologne: Taschen, 2009. p. 203, 277-278
    Damià Bautista, Joan. L'herència formal de Caravaggio. Artana: Joan Damià Bautista i Garcia, 2009. Reproduced: p. 99, fig. 245.
    Spinosa, Nicola. Pittura del Seicento a Napoli: da Caravaggio a Massimo Stanzione. Napoli: Arte'm Srl., 2010. Reproduced: p. 351, no. 330
    Papa, Rodolfo. Caravaggio: le origini, i modelli. Firenze: Giunti, 2010. p. 23
    Milesi, Silvana. Caravaggio incomparabile, 1610-2010. Bergamo: Corponove, 2010. Reproduced: p. 143
    Graham-Dixon, Andrew. Caravaggio: A Life Sacred and Profane. London; New York, Allen Lane, 2010. Reproduced: p. xvii, no. 73; p. 347-349, 350, 358, 379, 398
    Fried, Michael. The Moment of Caravaggio. Princeton, N.J.: Princeton University Press, 2010. Reproduced: p. 158, fig. 5.10
    Clark, Carol Zeller, and Orlo H. Clark. The Remarkables: Endocrine Abnormalities in Art. Berkeley: UC Medical Humanities Consortium, 2011. p. 84-85; Reproduced: p. 85, fig. 2-14.
    Franklin, David. Director's Choice: The Cleveland Museum of Art. London: Scala Publisherts Ltd, 2012. p. 34-35
    Franklin, David, and C. Griffith Mann. Treasures from the Cleveland Museum of Art. Cleveland, OH: Cleveland Museum of Art; London: Scala Publishers Ltd, 2012. p.184-185
    Pacelli, Vincenzo, and Gianluca Forgione. Caravaggio tra arte e scienza. Pozzuoli, Italy: Paparo, 2012. p. 40-43: fig. 4, 5; p. 282: fig. 62; p. 395-396: fig. A46
    Cappelletti, Francesca. Zurbaran. Florence: Giunti, 2013. Reproduced: P. 9
    Denunzio, Antonio Ernesto. "La Giuditta, Louis Finson e un probabile committente." In Giuditta decapita Oloferne: Louis Finson interprete di Caravaggio. Louis Finson, and Giovanna Capitelli., eds., 44-52. Napoli: Arte'm, 2013. Mentioned and reproduced: P. 44-45
    Rivero, Ignacio Cano, and Gabriele Finaldi. Francisco de Zurbarán (1598-1664). Antwerpen: Mercatorfonds, 2014. Reproduced: p.44, fig.19
    Pacelli, Vincenzo, and Gianluca Forgione. Caravaggio: le Sette opere di Misericordia. Napoli: Artstudiopaparo, 2014. Mentioned and reproduced: pp. 112-116
    Cleveland Museum of Art. The CMA Companion: A Guide to the Cleveland Museum of Art. Cleveland: Cleveland Museum of Art, 2014. Mentioned and reproduced: P. 181
    "Real Time Restoration Forms New Exhibition." The Art Newspaper 23, no. 258 (June 2014): 47. Reproduced: p. 45, detail p. 47
    Wismer, Beat, Odile Delenda and María del Mar Borobia Guerrero. Zurbarán. Dusseldorf and Munchen: Museum Kunstpalais, 2015. Reproduced: p. 234, fig. 1
    Papi, Gianni. Caravaggio: La Crocifissione di sant'Andrea Back-Vega = The Back-Vega Crucifixion of St Andrew.Milano: Skira, 2016. Mentioned: p. 6, 10, 34, 56, 80; Reproduced: p. [12], fig. 3; p. 30, fig, 17 (detail); p. 33, fig. 20 (detail); p. 38, fig, 24 (detail); p. 41, fig, 30 (detail); p. 43, fig. 32 (detail); p. 44, fig. 34 (detail); p. 47, fig. 36 (detail); p. 48, (fig. 38 (detail); p. 49, fig. 40 (detail)
    Martínez, Javier Gómez. Museografía al filo del milenio: tendencias y recurrencias. Somonte-Cenero, Gijón (Asturias): Ediciones Trea, 2016. Mentioned: p. 331
    Ebert-Schifferer, Sybille. "Caravaggio in Neapel: Kurze Zeit, grosse Wirkung." In Forster, Peter, et. al. Caravaggios Erben: Barock in Neapel. München: Hirmer, 2016, 48-65. Reproduced: p. 57, fig. 7
    Zuffi, Stefano. Caravaggio in Detail. New York: Abrams, 2016. Reproduced: p. 25, no. 44; detail p. 76-77
    Spinosa, Nicola, and James M. Bradburne. Attorno a Caravaggio: una questione di attribuzione. Ginevr ; Milano: Skira, 2016. Reproduced: p. 27-28, fig. 1
    Duffy-Zeballos, Lisa and Sharon Flescher. "A Long-Lost Caravaggio? Not so Fast Doubters Say But France embargoes Export Just in Case." IFAR Journal, 17 no. 1 (2016): 2-5. Reproduced and mentioned; p. 4, fig 4.
    Cleveland Museum of Art. Museum Masters: 2016-17 Companion Guide. [Cleveland, Ohio]: Cleveland Museum of Art, 2016. Mentioned and reproduced: P. 48-50
    Bowron, Edgar Peters. "Introduction: The Critical Fortunes of Italian Baroque Painting in America." In Buying Baroque: Italian Seventeenth-Century Paintings Come to America. Edited by Edgar Peters Bowron, 2-15. University Park, Pennsylvania: The Frick Collection, The Pennsylvania State University Press, 2017. Mentioned: p. 11
    Benay, Erin E. Exporting Caravaggio: The Crucifixion of Saint Andrew. Cleveland, Ohio: Cleveland Museum of Art; London: Giles, 2017.
    Scaletti, Fabio. Caravaggio: catalogo ragionato delle opere autografe, attribuite e controverse: con un regesto completo delle repliche e delle copie. 2 vols. [Naples] :Artstudiopaparo, 2017. Mentioned and Reproduced: p. 25, 198-201, no. OR61
    García Cueto, David. Las copias de obras maestras de la pintura en las colecciones de los Austrias y el Museo del Prado: actas del Congreso internacional = proceedings of the international Symposium. 2021, 93. Mentioned and reproduced: pp. 92-93, fig. 1.
    Caravaggio a Montserrat (Conference), Michelangelo Merisi da Caravaggio, Artur Ramon, and Clara Beltrán Catalán. Cent anys del Sant Jeroni de Caravaggio a Montserrat. 2019, 92. Mentioned and reproduced: pp. 91-92, fig. 1.
    Zuffi, Stefano, and Philippe Daverio. Discovering Caravaggio: the Art Lover's Guide to Understanding Symbols in his Paintings. New York: Rizzoli International, 2010. p. 210-213
    "The Cleveland Caravaggio." New Lugano Review 8.9 (1976). p. 36-37, 65
    Bray, Xavier. "Ribera: The Shock of the Real." In Ribera: Art of Violence. Edward Payne, and Xavier Bray, 35-54. Lewes, UK : Giles : Imprint of D. Giles Limited, 2018. London : Dulwich Picture Gallery : in association with D. Giles Limited, 2018. Mentioned and Reproduced: P. 36-37, fig. 3.1
    Spear, Richard E. "Caravaggio's 'Crucifixion of St Andrew' and the Problem of Autograph Replicas." The Burlington Magazine 160, no.1383 (June 2018): 454-461. Reproduced: p. 456, fig. 3
    Osnabrugge, Marije. The Neapolitan Lives and Careers of Netherlandish Immigrant Painters (1575-1655). Amsterdam: Amsterdam University Press, 2019. Mentioned: p. 80; Reproduced: p. 81
    Hall, Marcia B. The Power of Color: Five Centuries of European Painting. New Haven: Yale University Press, 2019. Mentioned: p. 99; Reproduced: p. 100. fig. 2.38
    Terzaghi, Maria Cristina , et. al. Caravaggio, Napoli. Milano: Electa, 2019. Reproduced; p. 38, fig. 4
    Sallandrouze, Aurélie, and Michelangelo Merisi da Caravaggio. Caravaggio: Judith et Holopherne : vente aux enchères, Toulouse, 27 juin 2019. 2019, 63. Mentioned and reproduced: p. 63, fig. 39.
    Pacelli, Vincenzo, and Michelangelo Merisi da Caravaggio. Caravaggio a Napoli: studi e ricerche. Roma : Editori Paparo, 2019. Reproduced: p. 22, fig, 13; mentioned: p. 26
    Porzio, Giuseppe. Antichi maestri a Napoli: dipinti del Sei e Settecento.
    Napoli, Italia : Porcini, 2019. Mentioned: p. 8; reproduced: p. 10, no.2
    Dinelli, Pier Paolo, and Michelangelo Merisi da Caravaggio. Caravaggio dall'ombra al dettaglio. 2020, 145 Reproduced: p. 145.
    Nuovi dati e nuove idee (Conference), and Maria Cristina Terzaghi. Caravaggio a Napoli: nuovi dati nuove idee : atti del convegno di Capodimonte : 13-14 gennaio 2020. Todi (Perugia) : Ediart, luglio, 2021. Mentioned: p. 83; Reproduced: p. 80, fig. 14
    Gengler, Matthew. “You Ask, We Answer.” Cleveland Art: Cleveland Museum of Art Members Magazine 60, no. 1 (January/February 2020): 22. Reproduced and Mentioned: P. 22.
    Dal Bello, Mario, and Nicola Ciola. La Trinità nell'arte. Roma : Dei Merangoli, 2021, 160. Mentioned and reproduced: p. 160
    Saraceno, Francesca, and Michelangelo Merisi da Caravaggio. Caravaggio: emozioni e impressioni. Lesmo (MB) : Etabeta, 2022. Reproduced: p. 409
    Zirpolo, Lilian H., and Michelangelo Merisi da Caravaggio. Caravaggio: A Reference Guide to His Life and Works. 2023. Mentioned and Reproduced: p. 95-96
  • Conservation in Focus: Caravaggio's Crucifixion of Saint Andrew. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 3-September 14, 2014).
    Masterpieces of European Painting from the Cleveland Museum of Art. Maltz Museum of Jewish Heritage, Beachwood, OH (March 29-July 8, 2007).
    Masterpieces of European Painting from The Cleveland Museum of Art. Frick Collection, New York, NY (organizer) (November 8, 2006-January 28, 2007).
    Rembrandt - Caravaggio. Van Gogh Museum, 1070 AJ Amsterdam, Netherlands (February 25-June 16, 2006).
    Caravaggio: The Last Years. Museo di Capodimonte, Naples, Italy (October 23, 2004-January 23, 2005); National Gallery, London, London, United Kingdom of Great Britain and Northern Ireland (organizer) (February 23-May 22, 2005).
    Painting in Naples from Caravaggio to Giordano. Royal Academy of Arts, London, United Kingdom of Great Britain and Northern Ireland (organizer) (October 2-December 12, 1982).
    Year in Review, 1976. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 1-March 6, 1977).
  • {{cite web|title=The Crucifixion of Saint Andrew|url=false|author=Caravaggio|year=1606–7|access-date=29 March 2024|publisher=Cleveland Museum of Art}}

Source URL:

https://www.clevelandart.org/art/1976.2