The Art Institute of Chicago Quick Itinerary for Caravaggio Lovers
Last Updated 3/6/2025
Overview
The Art Institute of Chicago is world renowned for having many masterpieces. Unfortunately, it is not currently home to a painting by Caravaggio. However, the Art Institute now boasts a painting by each of the 4 most famous Spanish Baroque artists (aka “Spanish Golden Age” of Painting). This itinerary will show you those masterpieces as well as a few others that have been influenced by Caravaggio.
Before you go
Ensure the Art Institute of Chicago (AI) is open on your desired day. They are generally closed on Tuesday and Wednesday.
You do not have to buy tickets in advance, it is typically not very busy unless there is a new exhibit that is extremely popular. To be safe, I do recommend buying tickets in advance on the AI website.
If you need to buy parking I recommend parking in the Millennium Park Garage North. You can get a discounted rate through ParkWhiz, SpotHero or other parking apps. Try to park as far south as you can in the garage and when you walk out of the garage you will be near Monroe and Michigan and close to the AI entrance.
Itinerary
The Entrance
Enter the building at the Michigan Ave entrance, if you don’t have tickets, you can purchase them on your left. With tickets in hand you can proceed further into the building where they will be scanned. Once your tickets are scanned continue walking into the building towards a large staircase in the center. Walk up the first flight of stairs and turn right to climb the next flight on your right.. Enter the door to room 213, turn left and head down the hall to room 211 at the end of the hall.
Penitent St. Peter (c.1628) Ribera
As you walk in the room, on the back wall you will find “Penitent St. Peter” (c.1628) by Jusepe de Ribera. This piece truly captures Saint Peter's intense sorrow and penitence through his detailed facial expression and teary eyes. Ribera's masterful use of light and shadow draws attention to the saint's face and hands, creating a dramatic contrast with the dark background. Pay attention to the symbolic elements, such as the saint’s hand position and the textures of his clothing, which reflect the themes of repentance and humility. These details contribute to the painting's narrative and mood.
Fun Fact - Ribera was a Spanish “Golden Age” painter that studied in Rome during the height of Caravaggio’s influence and this influence is clearly shown in "Penitent St. Peter.”
Ecstasy of St. Francis (c.1601 ) Baglione
To the left of St. Peter is Baglione’s “Ecstasy of St. Francis.” In this painting we see St. Francis reaching a state of ecstasy after deep meditation on Jesus’ cross and crown of thorns. Luckily for St. Francis, an angel catches him as he falls backward. Baglione portrays this moment in time with the expression of spiritual rapture on St. Francis's face, the heavenly light illuminating the scene and highlighting his connection to the divine, and the dramatic use of chiaroscuro to create depth and emphasize the mystical atmosphere. These elements combine to convey the profound spiritual experience depicted in the painting.
Fun Fact - Baglione competed with Caravaggio for important commissions in Rome at the turn of the 17th century. He incorporated Caravaggio’s style for many of his paintings much to the chagrin of Caravaggio. Baglione took Caravaggio to court over some derogatory poems that he accused Caravaggio of writing and circulating around Rome. Caravaggio was found guilty and spent two weeks in jail. Baglione went on to be Caravaggio’s first biographer and while his disdain for the artist is plain, the text serves as the foundation for almost everything we know about Caravaggio today.
The Resurrection (c 1619) Cecco Del Caravaggio
Moving to the left, you will find a massive painting by Francesco Buoneri aka Cecco del Caravaggio. “The Resurrection” (c. 1619-1620) was commissioned for a family chapel in Florence. The painting was rejected and then acquired by Cardinal Scipione Borghese. The painting depicts the moment that Christ rises from the tomb. You can see the angel has moved the stone from the entrance of the tomb and the guards in various states of disbelief and fear. The guard in the forefront was apparently awoken by the angel and started to pull his sword from his sheath but was too overwhelmed and passed out. The angel is pointing to the top left of the painting and that is where the guards are also looking. The top left of the painting is the source of light; you can imagine what the guards are looking at, it may be God Himself. Jesus is also pointing up and to the left as if to remind us that anything is possible through God.
Fun Speculation - There has been much speculation about the relationship between Cecco and Caravaggio, but there are few facts. Cecco may have been a model and student of Caravaggio. It is thought that Cecco served as the model for Caravaggio’s “"Love Conquers All” and one of the John the Baptist paintings. It is even thought that Cecco fled with Caravaggio to Naples after the unfortunate murder of Tomassoni. Whatever their relationship, no one doubts the influence that Caravaggio had on Cecco.
Cupid Chastised (1613) Manfredi
Continue to the left to find Bartolomeo Manfredi’s “Cupid Chastised” (1613). This painting depicts a scene of Mars beating Cupid while Venus tries in vain to stop him. Mars is punishing Cupid for having caused his affair with Venus. Observe Mars’ physicality and dominance, and contrast with Cupid’s vulnerability and submissiveness.
This painting is so Caravaggesque that when the Art Institute of Chicago acquired this painting as part of the Charles H. and Mary F. S. Worcester Collection it was labeled simply as “School of Caravaggio.” Soon after the piece was featured in a 1951 Caravaggio exhibition in Milan, the label was updated to reflect attribution to Manfredi.
Fun Fact - The physician, art collector and author - Giulio Mancini had asked Caravaggio to paint “Cupid Chastised” for him, but Manfredi offered a better price for the painting so Mancini gave the commission to him. There is an alternate version of this story that says that Caravaggio did paint a “Cupid Chastised” for Manfredi, but Cardinal del Monte took it (as Cardinals do), so Mancini then commissioned Manfredi to paint a “Cupid Chastised” for him. The supposed del Monte “Cupid Chastised” is lost today. Either way, we are lucky to have this masterpiece at the Art Institute of Chicago.
Saint Romanus of Antioch and Saint Barulas (1638) Zurbarán.
Continuing to the left, against the back wall is an intriguing painting by a Spanish painter, Francisco de Zurbarán. “Saint Romanus of Antioch and Saint Barulas” (1638) depicts the martyr St. Romanus holding his tongue, which his tormentors cut out, while holding a book open to a page that begs God for intercession on behalf of the faithful. Looking up at him is 7 year old St. Barulas who was also martyred with St. Romanus.
Sad Fact: Only eight years after the brutal killings of St. Romanus and St Barulas, Emperor Constantine legalized Christianity which significantly reduced the persecution of Christians in the Roman Empire.
The Crucifixion (1627) Zurbarán
In the center of the wall is a breathtaking piece. “The Crucifixion" (1627) also by Francisco de Zurbarán. The black background and amazing detail on Jesus’ body and loin cloth make this painting feel three dimensional. It is unknown if Zurbaran ever saw Caravaggio’s paintings, but looking at this piece, it is hard to believe he had not.
Fun Fact: Francisco de Zurbarán took inspiration from Juan Sánchez Cotán, the master of Spanish Baroque still-life painting. Cotán’s dramatic tenebrism (use of light and shadow), in his bodegones (still life painting of pantry items) , shaped Zurbarán’s own iconic style. On the opposite wall of the Crucifixion, you will find the Art Institute’s oldest European still life “Still Life with Game Fowl” by Cotán.
“Behold the Lamb of God” (c.1655) Murillo
Estaban Murillo Ecce Agnes Dei (c.1655) “Behold the Lamb of God” depicts adult John the Baptist and Jesus together. John the Baptist has his traditional iconography of being barefoot with camel skin clothing, staff with cross and red cloak as well as gesturing toward Jesus. Jesus is standing humbly with his purple cloak. It is fairly unique to show Jesus and his cousin John the Baptist as adults, it is one of four paintings that Murillo did for a church in Seville that described the life of John the Baptist. It is speculation on our part, but I think Jesus has been recently baptized by his cousin and is ready to head into the desert before beginning his ministry. His purple cloak indicates that he is preparing for his ministry and ultimately, his crucifixion.
Fun Fact: Above Jesus is a Latin phrase that means: “All would believe through him.” above an eagle, the representation of the St. John the Evangelist. Above St. John the Baptist a Latin phrase that means: “This man will be great before the Lord.” above a bull, the representation of St. Luke.
Saint John the Baptist in the Wilderness (c. 1622) Velázquez.
Turn around completely and against the back wall you will see our next painting, “Saint John the Baptist in the Wilderness” (c. 1622) by Diego Velázquez. Velázquez is the most famous painter of the Spanish Golden Age and strongly influenced impressionism and realism in the 19th century.
Growing up in Seville, Velazquez had not seen Caravaggio’s paintings first hand at the time he painted this piece. It is thought he may have seen copies though, as it's hard to deny the tenebrism at work in this painting.
In this painting, we see St. John the Baptist with the requisite symbols: wilderness setting, the staff with the cross, the camel hair clothing and the lamb. Unique in this depiction is the inclusion of the purple drapery. Purple is associated with preparation in the Catholic and could be another indication of St. John’s role of preparing us for the coming of Jesus.
Fun Fact: Velázquez was an extremely unique painter in that he never specialized in any particular type of painting and his repertory includes all the major thematic fields of Baroque art including portraiture, female nudes, mythological and sacred history paintings and the great allegories. Additionally, Velázquez upheld human dignity like no one before him - he frequently painted portraits of dwarves and court fools and imbued them with an undeniable dignity and did so with no hint of mockery.
This concludes our quick tour of the Art Institute of Chicago for Caravaggio lovers. While there are no Caravaggios, there are four of the greatest Spanish Baroque artists (Velazquez, Murillo, Zurburan and Ribera) all in one room, which is absolutely fantastic.
The El Greco is currently on Loan to the Prado in Madrid.
The Assumption of the Virgin (c.1577) El Greco
“The Assumption of the Virgin”(c.1577) by El Greco, is not a baroque painting, but the mannerist style was influential to the Baroque period, especially in northern Italy.
El Greco’s style with elongated and monumental figures is unmistakable even in this painting which is from early in his career.
Fun Fact: El Greco’s work was generally unappreciated by his contemporaries; he had no notable followers and his work was rarely copied. It was only in the 20th century that he was recognized as a genius and true innovator.
This concludes our Art Institute of Chicago quick Itinerary for Caravaggio Lovers. Let us know in the comments below what you think!
