Caravaggio's 'Conversion of St. Paul' exemplifies Counter-Reformation art. The painting depicts Paul's dramatic conversion to Christianity, a moment crucial for inspiring faith, contrasting with the calm stability of Renaissance compositions. Its dynamic composition, featuring an upended triangle and Paul uncomfortably close to the viewer, aims to create a highly dramatic and engaging experience.

Caravaggio utilizes tenebrism, a dramatic use of light and dark, with stark contrasts rather than subtle gradations. The lighting seems to originate from outside the painting, making Paul’s conversion feel uncomfortably close and tangible, blurring the lines between the religious world within the painting and the viewer's reality to encourage personal conversion.

Caravaggio's use of 'the common man' for his figures, rather than idealized beauty, was a key Caravaggesque trait. This approach made religious narratives more relatable, suggesting that profound spiritual experiences could happen to ordinary people.

In 'The Calling of St. Matthew,' Caravaggio again employs his distinct traits. The scene portrays Christ calling Levi, a Roman tax collector, to conversion. The humble and 'scrappy' nature of Levi reinforces the idea that salvation is accessible to all. The composition uses dramatic light and dark (tenebrism) and an off-center focus to draw the viewer's eye.

A significant detail in 'The Calling of St. Matthew' is Christ's hand, which strongly resembles Adam's hand in Michelangelo's 'Creation of Adam.' This visual parallel symbolizes Christ as the 'new Adam,' who redeems humanity from the sin introduced by the first Adam, restoring communion between man and God.

Artemisia Gentileschi was a notable 'Caravaggista,' an artist who emulated Caravaggio's style. As the first woman admitted to the Florence Academy of Art and Design, she challenged gender norms by painting historical and religious subjects, typically reserved for men. Her mastery of naturalism, drama, and the 'common man' aesthetic made her popular within the Counter-Reformation art movement.

Many of Gentileschi's works depict women in powerful, often violent, moments, such as 'Judith Beheading Holofernes.' This theme is often linked to her personal experience as a survivor of sexual assault. The painting dramatically illustrates Judith's defiance and strength, embodying Caravaggesque traits like tenebrism, dynamic composition with diagonals, and figures placed close to the picture plane, immersing the viewer in the intense action.