The J. Paul Getty Museum

The Supper at Emmaus

Object Details


The Supper at Emmaus


Bartolomeo Cavarozzi (Italian, 1587 - 1625)




about 1615–1625


Oil on canvas

Object Number:



139.7 × 194.9 cm (55 × 76 3/4 in.)

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Object Description

As the innkeeper looks on, the resurrected Christ reveals himself to his apostles Cleophas and Saint Peter, as described in the Gospel of Luke: "When he was at the table with them, he took bread, blessed and broke it, and gave it to them. Then their eyes were opened, and they recognized him." The artist heightens the scene's tension by positioning the table at the very front of the picture plane, hemming in the substantial figures.

It is thought that Bartolomeo Cavarozzi painted this painting, which is after Caravaggio's innovative treatment of the subject that is now in the National Gallery, London. During the 1600s, Caravaggio's original was in Rome, where it was seen and copied by many artists. The Getty Museum's picture follows the original closely, but with several important differences. The positioning of the three figures surrounding Christ has been reversed. These figures are also shown from a slightly lower viewpoint than Caravaggio's, making them more monumental. This painting has less spatial depth and a more symmetrical composition than Caravaggio's original. The artist also enlarged and lavished great attention on the still life, capturing the play of light across a range of textures and surfaces.


Private Collection (Nancy, France)

by 1971 - 1972

Heim Gallery (Paris) (Paris and London), sold to the J. Paul Getty Museum, 1972.

Fourteen Important Neapolitan Paintings (May 13 to August 28, 1971) (as Aniello Falcone)
  • Heim Gallery (London), May 13 to August 28, 1971
Caravaggio and His Followers (October 27, 1971 to January 2, 1972) (as Aniello Falcone)
  • The Cleveland Museum of Art (Cleveland), October 27, 1971 to January 2, 1972
Baroque Masters from the J. Paul Getty Museum (February 26 to March 30, 1973) (as Aniello Falcone)
  • California State University (Northridge), February 26 to March 30, 1973
The Age of the Marvelous (September 21, 1991 to January 3, 1993) (as Aniello Falcone)
  • Hood Museum of Art (Hanover), September 21 to November 24, 1991
  • North Carolina Museum of Art (Raleigh), January 25 to March 22, 1992
  • Museum of Fine Arts, Houston, May 24 to August 25, 1992
  • High Museum of Art (Atlanta), October 6, 1992 to January 3, 1993
La natura morta al tempo di Caravaggio (December 15, 1995 to April 14, 1996) (as Master of the Acquavella Still Life and Bartolomeo Cavarozzi)
  • Musei Capitolini (Rome), December 15, 1995 to April 14, 1996

Spear, Richard E. Caravaggio and His Followers, exh. cat. (Cleveland: Cleveland Museum of Art, 1971), pp. 90-91, no. 25, ill. (as Aniello Falcone).

Fourteen Important Neapolitan Paintings, exh. cat. (London: Heim Gallery, 1971), no. 4, ill. (as Aniello Falcone), entry by Carlo Volpe.

Causa, Raffaello. "La pittura del Seicento a Napoli dal naturalismo al Barocco." In Storia di Napoli. Vol. 5, part 2 (Naples: Società editrice Storia di Napoli, 1972), pp. 933, 975n66 (as Master of Fontanarosa, possibly Alonso Rodriguez; still life as Master of Palazzo San Gervasio).

Causa, Raffaello. "La natura morta a Napoli nel Sei e nel Settecento." In Storia di Napoli. Vol. 5, part 2 (Naples: Società editrice Storia di Napoli, 1972), pp. 1003-5, 1037n26, fig. 369 (detail) (still life as Master of Palazzo San Gervasio).

Baroque Masters from the J. Paul Getty Museum, exh. cat. (Northridge: California State University, 1973), pp. 10-11, no. 15, ill. (as Aniello Falcone).

Marini, Maurizio. Io Michelangelo da Caravaggio (Rome: Studio "B" di Bestetti e Bozzi, 1974), pp. 67n178, 78n381, 310, 316, 318, 476, figs. H, C10 (detail), C16 (detail, as Master of Fontanarosa, Master of Palazzo San Gervasio [?]).

Fredericksen, Burton B., ed. The J. Paul Getty Museum: Greek and Roman Antiquities, Western European Paintings, French Decorative Arts of the Eighteenth Century (Malibu: J. Paul Getty Museum, 1975), pp. 70, 95, ill. (as Aniello Falcone).

Potterton, Homan. The Supper at Emmaus by Caravaggio (London: The National Gallery, 1975), unpaginated, fig. 9 (as Aniello Falcone).

Fredericksen, Burton B., et al. Guidebook: The J. Paul Getty Museum. 3rd ed. (Malibu: J. Paul Getty Museum, 1976), p. 65 (as Aniello Falcone).

Scribner, Charles. "In Alia Effegie: Caravaggio's London Supper at Emmaus." The Art Bulletin59, no. 3 (September 1977), p. 376n12.

Fredericksen, Burton B., Jiří Frel, and Gillian Wilson. Guidebook: The J. Paul Getty Museum. 4th ed. Sandra Morgan, ed. (Malibu: J. Paul Getty Museum, 1978), p. 80 (as Aniello Falcone).

Nicolson, Benedict. The International Caravaggesque Movement: Lists of Pictures by Caravaggio and His Followers throughout Europe from 1590 to 1650 (Oxford: Phaidon, 1979), p. 38, pl. 76 (detail) (as Unknown Caravaggesque, Neapolitan).

Marini, Maurizio. "Del Signor Giovanni Battirsta Crescentij, Pittore." J. Paul Getty Museum Journal 9 (1981), pp. 127-32, fig. 3 (as Giovanni Battista Crescenzi).

Marini, Maurizio. "Gli esordi del Caravaggio e il concetto di 'natura' nei primi decenni del Seicento a Roma: Equivoci del caravaggismo." Artibus et Historiae 2, no. 4 (1981), p. 56, fig. 22 (as Giovanni Battista Crescenzi).

Marini, Maurizio. "Caravaggio e il naturalismo internazionale." In Storia dell'arte italiana. Part 2, Dal Medioevo al Novecento; vol. 2, Dal Cinquecento all'Ottocento; part 1, Cinquecento e Seicento. Federico Zeri, ed. (Turin: Giulio Einaudi, 1981), p. 392, fig. 250 (as Giovanni Battista Crescenzi).

Bodart, Didier. "Il fascino intramontabile della natura morta." Il Tempo [Rome] (April 24, 1984).

Salerno, Luigi. La natura morta italiana, 1560-1805 / Still Life Painting in Italy, 1560-1805. Robert Erich Wolf, trans. (Rome: Ugo Bozzi, 1984), p. 402.

Spezzaferro, Luigi. "Giovanni Battista Crescenzi." In Dizionario biografico degli Italiani. Vol. 30 (Rome: Istituto della Enciclopedia italiana, 1984), p. 639.

Gaeta, Mattia. Antologia di dipinti antichi, exh. cat. (Milan: Leasarte spa, 1987), unpaginated, under no. 22 (as Giovanni Battista Crescenzi).

Franco Semenzato, Milan. Importanti dipinti antichi. November 23, 1989, under lot 19 (as Giovanni Battista Crescenzi).

Cottino, Alberto. "Giovanni Battista Crescenzi." In La natura morta in Italia. Carlo Pirovano, ed. (Milan: Electa, 1989), vol. 2, p. 710.

Nicolson, Benedict. Caravaggism in Europe. 2nd ed., rev. by Luisa Vertova. 3 vols. (Turin: Umberto Allemandi & C., 1990), vol. 2, figs. 465, 466 (detail, as Caravaggesque Unknown, Neapolitan [?]).

Nicolson, Benedict. Caravaggism in Europe. 2nd ed., rev. by Luisa Vertova. 3 vols. (Turin: Umberto Allemandi & C., 1990), vol. 1, p. 90.

Cappelletti, Francesca, and Laura Testa. La disputa di S. Stefano: Un quadro delle collezioni Mattei (unpublished typescript, late 1980s-early 1990s, Los Angeles, J. Paul Getty Museum, Paintings Department), passim, as Bartolomeo Cavarozzi.

Kenseth, Joy, ed. The Age of the Marvelous, exh. cat. (Hanover: Hood Museum of Art, 1991), pp. 441, 444-45, no. 211, ill. (as Aniello Falcone).

Cottino, Alberto, ed. La natura morta al tempo di Caravaggio, exh. cat. (Rome: Musei Capitolini, with Electa, 1995), pp. 148-49, no. 37, ill. (as Master of the Acquavella Still Life and Bartolomeo Cavarozzi), entry by Alberto Cottino.

Papi, Gianni. "Riflessioni sul percorso caravaggesco di Bartolomeo Cavarozzi." Paragone 47, 3rd. ser., nos. 5-7 (January-May 1996), pp. 91-92, 96n27, pl. 71 (as Bartolomeo Cavarozzi).

Morris, Roderick Conway. "Still Lifes and Mysteries." International Herald Tribune (March 2, 1996).

Jaffé, David. Summary Catalogue of European Paintings in the J. Paul Getty Museum (Los Angeles: J. Paul Getty Museum, 1997), p. 21, ill. (as Follower of Caravaggio).

Gregori, Mina. "Due partenze in Lombardia per la natura morta." In Natura morta italiana tra Cinquecento e Settecento, exh. cat. (Munich: Kunsthalle der Hypo-Kulturstiftung, with Electa, 2002), pp. 33, 34, fig. 16 (as Master of the Acquavella Still Life [identified here as Bartolomeo Cavarozzi]).

Spezzaferro, Luigi. "Caravaggio accettato: Dal rifiuto al mercato." In Caravaggio nel IV centenario della Cappella Contarelli: Convegno internazionale di studi, Roma 24-26 maggio 2001. Caterina Volpi, ed. (Città di Castello: Petruzzi Stampa, 2002), pp. 29, 30, 31; p. 37, app. 1 (1620 Altemps inventory, listing a Supper at Emmaus that may be identified with the Getty painting).

Cottino, Alberto. "La natura morta a Roma: Il naturalismo caravaggesco." In Natura morta italiana tra Cinquecento e Settecento, exh. cat. (Munich: Kunsthalle der Hypo-Kulturstiftung, with Electa, 2002), pp. 125, 128n27 (as Master of the Acquavella Still Life and Bartolomeo Cavarozz).

Benedetti, Sergio. "Alcune osservazioni sugli influssi italiani agli inizi della pittura naturalistica in Spagna." In Caravaggio e l'Europa: Il movimento caravaggesco internazionale da Caravaggio a Mattia Preti, exh. cat. (Milan: Palazzo Reale, with Electa, 2005), pp. 66, 68, 71, 72n30, fig. 2 (as Bartolomeo Cavarozzi).

Sanguineti, Daniele. "Bartolomeo Cavarozzi e le 'Sacre Famiglie': Tracce per una congiuntura caravaggesca tra Genova e la Spagna." In Bartolomeo Cavarozzi: 'Sacre Famiglie' a confronto, exh. cat. (Turin: Pinacoteca dell'Accademia Albertina, with Skira, 2005), pp. 16, 17, 18, 19, 23, 25, fig. 5 (as Bartolomeo Cavarozzi).

Papi, Gianni. "Pittori caravaggeschi e nature morte." Paragone 57, 3rd ser., nos. 65-66 (January-March 2006), p. 59, pl. 40 (as Bartolomeo Cavarozzi).

Bernstorff, Marieke von. Agent und Maler als Akteure im Kunstbetrieb des frühen 17. Jahrhunderts: Giovan Battista Crescenzi und Bartolomeo Cavarozzi (Munich: Hirmer, 2010), pp. 14, 114n227, 136, 141, 144n102, 149, 151-57, 160, 165-68, 184, figs. 63, 65, pl. 8a (as Bartolomeo Cavarozzi).

Pupillo, Marco. "Bartolomeo Cavarozzi (Viterbo 1587-Roma 1625)." In I caravaggeschi: Percorsi e protagonisti. Alessandro Zuccari, ed. 2 vols. (Milan: Skira, 2010), vol. 2, pp. 354, 355, 359n27, fig. 5 (as Bartolomeo Cavarozzi).

Schütze, Sebastian. "Staging Religious History for Collectors and Connoisseurs." In Caravaggio & His Followers in Rome, exh. cat. (Ottawa: The National Gallery of Canada, with Yale University Press, 2011), pp. 269, 271, fig. 79 (as Bartolomeo Cavarozzi).