Bartolomeo Cavarozzi

Cavarozzi's work began receiving increased admiration and appreciation from art historians in the last few decades of the 20th century, emerging as one of the more distinct and original followers of Caravaggio.

His surviving works are predominantly Biblical subjects and still-life paintings, although older references note he "was esteemed a good painter especially of portraits".

Much of the training there was focused on drawing directly from life curious and beautiful objects provided by Crescenzi such as fruits, vegetables, animals, and such found around Rome.

The training Cavarozzi received at Crescenzi's academy can be seen in the still life with skull, rosary, books, and crucifix on the worm-eaten table.

[2][9] In 1617 Giovanni Battista Crescenzi traveled to Spain to work in the Pantheon of the Escorial and in this period he was significant in defining artistic taste in the Madrid court.

Included among these are some of Ribera's paintings of Saints and particularly in The Calvary (Crucifixion) [see external links below] in the Patronato de Arte Osuna, Seville: "A striking similarity can be found in the figure of Mary Magdalen – especially in the treatment of her luxurious green and yellow clothing – to the style of the Roman artist Bartolomeo Cavarozzi (ca.