144:. The works in this cycle are visibly influenced by the religious rhetoric of Charles Dauphin, with whom Caravoglia had worked at the Royal Palace. In addition to the works at the Royal Palace, Caravoglia collaborated with Dauphin over three paintings for the Cathedral of Turin between 1655 and 1663. Church commissions dominated Caravoglia's work towards the end of his career, both in Turin, where he painted the Miracle of the Eucharist in the church of Corpus Domini, reputedly dating from as early as 1667, and in
76:, who made him one of the most leading artistic figures at the Savoy Court. His apprenticeship was complex, being variously influenced (from Neapolitan art to Guercino's painting). From 1645, he produced a series of works (now lost) at the
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104:, who had been summoned to Turin a few years earlier through a refined exchange between the ducal court and the Roman cultural world. In the Diana room of the
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to foreign consorts. These paintings, which have been partially lost, were strongly influenced by the style of the painter
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of two women (now lost), which, along with similar works by Jan Miel and
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in 1655. In the same year, he became assistant director of the
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Bartolommeo
Caravoglia is thought to have been born in
22:(active 1645–1682) was an Italian painter of the
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130:St. Paul at the death of the Virgin
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232:, Volume 19: Cappi–Cardona
72:College introduced him to
223:Grandi, Giovanna (1976).
134:St. Paul led to execution
278:Italian Baroque painters
225:"CARAVOGLIA, Bartolomeo"
40:Miracle of the Eucharist
283:People from Crescentino
150:The death of St. Joseph
273:Painters from Piedmont
20:Bartolommeo Caravoglia
268:Italian male painters
166:The Virgin and saints
90:Royal Palace of Turin
86:Accademia di San Luca
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182:Christ on the cross
110:equestrian portrait
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102:Jan Miel
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