Carlo Dolci's paintings can be found in several collections. These include the Monastery of Sta Maria di Monticelli (with the 'Portrait of a Member of the Medici Family'), and the Palazzo Medici (which holds 'St Francis'). Another painting, 'Pallas', is held at the Villa of Castello. Other locations include the Stadelsches Kunstinstitut in Frankfurt, which possesses 'Madonna and Child with Young St John'. The Negrotto Cambiaso Collection in Geona holds 'Portrart of a Young Woman', while the Glasgow Art Gallery and Museum has Dolci's 'Communion of St Jerome'. You can also find his work in Glens Falls, New York (De Navarro Collection), Granada (Capilla de los Reyes), Greenville, South Carolina (Bob Jones University), Hannover (Niedersachsische Landesgalene), and Kaliningrad (State Museum).

Carlo Dolci (1616-1686) was a Florentine painter known for his meticulous technique and devotional subjects. While he is not primarily known as a printmaker, prints were made after his paintings, extending the reach of his work beyond Florence. Dolci's paintings were highly sought after during his lifetime, and this popularity led to the creation of prints, allowing wider circulation and access to his art. These prints often replicated his most celebrated compositions, such as his depictions of saints and the Virgin Mary. Collectors should be aware that prints after Dolci vary in quality and date. Some were produced during his lifetime or shortly after, while others are later reproductions. Factors such as the skill of the engraver, the printing techniques used, and the condition of the print all affect its value and aesthetic appeal. Researching the specific print and its provenance can provide valuable information about its history and authenticity.

Carlo Dolci (1616-1686) was an Italian painter of the Baroque period, known for his meticulous technique and devotional subjects. A contemporary, Giovanni Baglione, noted that some artists have a great desire for public approval, and that the public "do not judge with their eyes, but look with their ears". Dolci's appeal lies in his highly finished style and emotional intensity, which resonated with collectors and patrons during his lifetime. His paintings often depict religious figures with great attention to detail, conveying a sense of piety and reverence. Dolci's work reflects the artistic values of his time, when technical skill and emotional expression were highly prized. Although tastes have changed, Dolci's paintings remain important examples of Baroque art, offering insight into the religious and aesthetic sensibilities of the 17th century. His technical virtuosity and ability to evoke emotion continue to be admired by art historians and enthusiasts today.

Carlo Dolci (1616-1686) was an Italian painter of the Baroque period, known for his meticulous technique. Dolci primarily used oil-on-canvas, allowing him to focus his efforts on mastering this medium. He was not interested in fresco painting. He insisted on preparing his excellent pigments and binders himself. Dolci employed oil glazes in order to achieve the desired effect in certain paintings. This enabled him to achieve clarity in his works, despite the complexity of his compositions. His early pictures used heavy, viscous binders that were easy to use in representational works. This allowed a fluid application, permitting independent treatment of his motif. He did not attempt to disguise the brushstroke. The fluidity of the painting went hand in hand with great visibility of his working methods.

Carlo Dolci's influence is complex. He had many students, and his paintings were widely collected, often by British Grand Tourists. However, later critics often dismissed his style. His daughter, Agnese Dolci (1660-1722), was also a painter; she copied his compositions and produced portraits. Domenico Bartolini was another pupil. More generally, Dolci's highly finished, detailed style was admired by many artists, especially those who valued technical skill and devotional subjects. His emphasis on sentimentality and his polished technique appealed to collectors. This popularity meant that many artists, even if not direct pupils, absorbed elements of his approach. However, tastes changed in the 18th and 19th centuries. Some critics found his work overly sentimental or repetitive, leading to a decline in his reputation. Despite this, the care he took with his art continued to be appreciated by some; his influence can be seen in the work of artists who valued precision and polish.

Carlo Dolci, a painter of the Florentine School, lived from 1616 to 1686. Determining specific influences on an artist requires analysis of their training, exposure, and stylistic choices. Close to Caravaggio's birthplace, Bergamo, the art scene may have provided early stimuli. Cariani, inspired by Sebastiano del Piombo and Giorgione, showed mastery in portraiture and occasional genre-like portrayals; these may have influenced the young Caravaggio. Bernardino Licinio's similar work might have offered personal guidance, remaining important in his artistic development. Some connect Caravaggio's work to his life, suggesting his experiences shaped his art. He aimed to show holy events as ordinary, depicting gypsies, beggars, and gamblers like debauched descendants of giants, sculpted after Michelangelo. Others suggest his pathos came from the honesty of his characters, imagining the divine in human form. This contrasted with Mannerists, who conceived forms without personality. Bellori noted Caravaggio's reliance on models, stating he was idle without them.

Determining Carlo Dolci's single 'most famous' work is difficult, as fame is subjective and varies over time. However, some of his most recognised paintings include religious and devotional subjects, reflecting the artistic trends and patronage of his era. One notable painting is 'Saint Jerome Writing', an oil on canvas created in Malta around 1607. It measures 117cm x 157cm and is located at the Museum of the Co-cathedral of St John in Valletta. Another well-regarded work is 'The Beheading of St John the Baptist', an oil on canvas measuring 361cm x 520cm, also situated at the Co-cathedral of St John in Valletta. Furthermore, his 'Annunciation', an oil on canvas measuring 285cm x 205cm, can be found at the Musée des Beaux Arts in Nancy. Dolci also painted 'Love Sleeping' (Amorino dormiente), an oil on canvas (72cm × 105cm), is located in Florence at the Palazzo Pitti, Galleria Palatina.

Carlo Dolci (1616-1686) was an Italian painter of the Baroque. The Baroque (c. 1600-1700) succeeded Mannerism. The term "Baroque" may come from "barocco", the Portuguese word for an irregular pearl. It was retrospectively applied to art that used emotion, dynamism, and drama, alongside tonal contrasts. Religious tensions in Europe helped the style develop, as it was meant to reinforce Catholicism. In reaction to Protestantism, the Council of Trent (1545-1563) decided religious art should encourage piety through realism. Baroque emerged in Italy, then spread through Catholic Europe. The art was intended to be visually and emotionally appealing, and to focus on Catholic doctrine, in order to educate. Rome, not Florence or Venice, was the centre during the Baroque. The style had the greatest impact in Catholic countries, but eventually gave way to the lighter Rococo style.