Annibale carracci biography channel

Bolognese painter (1560–1609)

Annibale Carracci (Italian pronunciation:[anˈniːbalekarˈrattʃi]; November 3, 1560 – July 15, 1609) was double-cross Italian painter and instructor, active perform Bologna and later in Rome. Cutting edge with his brother and cousin, Annibale was one of the progenitors, granting not founders of a leading direction of the Baroque style, borrowing propagate styles from both north and southeast of their native city, and hoping for a return to classical monumentality, but adding a more vital liveliness. Painters working under Annibale at grandeur gallery of the Palazzo Farnese would be highly influential in Roman picture for decades.

Early career

Annibale Carracci was born in Bologna, and in yell likelihood was first apprenticed within realm family. In 1582, Annibale, his kinsman Agostino and his cousin Ludovico Carracci opened a painters' studio, initially callinged by some the Academy of say publicly Desiderosi (desirous of fame and learning) and subsequently the Incamminati (progressives; word for word "of those opening a new way"). Considered "the first major art primary based on life drawing", the Accademia degli Incamminati was the model connote later art schools throughout Europe.^[1] In the long run b for a long time the Carraccis laid emphasis on decency typically Florentine linear draftsmanship, as exemplified by Raphael and Andrea del Sarto, their interest in the glimmering standard aspect and mistier edges of objects development from the Venetian painters, notably blue blood the gentry works of Venetian oil painter Titian, which Annibale and Agostino studied cloth their travels around Italy in 1580–81 at the behest of the older Caracci Lodovico. This eclecticism was erect become the defining trait of integrity artists of the Baroque Emilian person above you Bolognese School.

In many early Bolognese works by the Carraccis, it comment difficult to distinguish the individual fund made by each. For example, honesty frescoes on the story of Jason for Palazzo Fava in Bologna (c. 1583–84) are signed Carracci, which suggests that they all contributed. In 1585, Annibale completed an altarpiece of honourableness Baptism of Christ for the religion of Santi Gregorio e Siro resolve Bologna. In 1587, he painted excellence Assumption for the church of San Rocco in Reggio Emilia.

In 1587–88, Annibale is known to have difficult travelled to Parma and then Venezia, where he joined his brother Agostino. From 1589 to 1592, the tierce Carracci brothers completed the frescoes exaggerate the Founding of Rome for Palazzo Magnani in Bologna. By 1593, Annibale had completed an altarpiece, Virgin blame the throne with St John enthralled St Catherine, in collaboration with Lucio Massari. His Resurrection of Christ further dates from 1593. In 1592, elegance painted an Assumption for the Bonasoni chapel in San Francesco. During 1593–94, all three Carraccis were working doable frescoes in Palazzo Sampieri in Sausage.

Frescoes in Palazzo Farnese

Based on nobleness prolific and masterful frescoes by grandeur Carracci in Bologna, Annibale was advantageous by the Duke of Parma, Ranuccio I Farnese, to his brother, depiction Cardinal Odoardo Farnese, who wished concord decorate the piano nobile of rectitude cavernous Roman Palazzo Farnese. In November–December 1595, Annibale and Agostino traveled touch on Rome to begin decorating the Camerino with stories of Hercules, appropriate thanks to the room housed the famous Greco-Roman antique sculpture of the hypermuscular Farnese Hercules.

Annibale meanwhile developed hundreds bring into play preparatory sketches for the major effort, wherein he led a team trade frescoes on the ceiling of justness grand salon with the secular quadri riportati of The Loves of justness Gods, or as the biographer Giovanni Bellori described it, Human Love governed by Celestial Love. Although the vault 2 is riotously rich in illusionistic modicum, the narratives are framed in character restrained classicism of High Renaissance adornment, drawing inspiration from, yet more compelling and intimate, than Michelangelo's Sistine Undercroft depository as well as Raphael's Vatican Logge and Villa Farnesina frescoes. His look at carefully would later inspire the untrammelled tow chase of Baroque illusionism and energy renounce would emerge in the grand frescoes of Cortona, Lanfranco, and in subsequent decades Andrea Pozzo and Gaulli.

Throughout the 17th and 18th centuries, significance Farnese Ceiling was considered the unmatchable masterpiece of fresco painting for close-fitting age. They were not only distinctive of as a pattern book of valiant figure design, but also as top-notch model of technical procedure; Annibale's make a hit of preparatory drawings for the control became a fundamental step in part any ambitious history painting.

Contrast merge with Caravaggio

The 17th-century critic Giovanni Bellori, reap his survey entitled Idea, praised Carracci as the paragon of Italian painters, who had fostered a "renaissance" draw round the great tradition of Raphael humbling Michelangelo. On the other hand, linctus admitting Caravaggio's talents as a catamount, Bellori deplored his over-naturalistic style, conj admitting not his turbulent morals and front. He thus viewed the Caravaggisti styles with the same gloomy dismay. Painters were urged to depict the Dispassionate ideal of beauty, not Roman street-walkers. Yet Carracci and Caravaggio patrons station pupils did not all fall lift up irreconcilable camps. Contemporary patrons, such considerably Marquess Vincenzo Giustiniani, found both purposeful showed excellence in maniera and modeling.^[2]

By the 21st century, observers had warmed to the rebel myth of Caravaggio, and often ignored the profound credence on art that Carracci had. Caravaggio almost never worked in fresco, held as the test of a wonderful painter's mettle. On the other alleviate, Carracci's best works are in fresco. Thus the somber canvases of Caravaggio, with benighted backgrounds, are suited lying on the contemplative altars, and not like well-lit walls or ceilings such pass for this one in the Farnese. Wittkower was surprised that a Farnese requisite critical surrounded himself with frescoes of lewd themes, indicative of a "considerable repose of counter-reformatory morality". This thematic selection suggests Carracci may have been complicate rebellious relative to the often-solemn scrupulous passion of Caravaggio's canvases. Wittkower states Carracci's "frescoes convey the impression be the owner of a tremendous joie de vivre, shipshape and bristol fashion new blossoming of vitality and star as an energy long repressed".

In picture 21st century, most connoisseurs making significance pilgrimage to the Cerasi Chapel bother Santa Maria del Popolo would pass over Carracci's Assumption of the Virgin screen (1600–1601) and focus on the edgeways Caravaggio works. It is instructive summit compare Carracci's Assumption^[3] with Caravaggio's Death of the Virgin. Among early institution, Carracci was an innovator. He re-enlivened Michelangelo's visual fresco vocabulary, and posited a muscular and vivaciously brilliant graphic landscape, which had been becoming to an increasing extent crippled into a Mannerist tangle. One-time Michelangelo could bend and contort probity body into all the possible perspectives, Carracci in the Farnese frescoes confidential shown how it could dance. Magnanimity "ceiling"-frontiers, the wide expanses of walls to be frescoed would, for rectitude next decades, be thronged by honourableness monumental brilliance of the Carracci multitude, and not Caravaggio's followers.

In loftiness century following his death, to nifty lesser extent than Bernini and Cortona, Carracci and baroque art in communal came under criticism from neoclassic critics such as Winckelmann and even afterward from the prudish John Ruskin, considerably well as admirers of Caravaggio. Carracci in part was spared opprobrium thanks to he was seen as an copycat of the highly admired Raphael, talented in the Farnese frescoes, attentive alongside the proper themes such as those of antique mythology.

Landscapes, genre difference of opinion and drawings

On July 8, 1595, Annibale completed the painting of Saint Roch Giving Alms, now in Dresden Gemäldegalerie. Other significant late works painted antisocial Carracci in Rome include Domine quo vadis? (c. 1602), which reveals straighten up striking economy in figure composition suffer a force and precision of exhibit that influenced on Poussin and raining him, the language of gesture scope painting.

Carracci was remarkably eclectic put over thematic, painting landscapes, genre scenes, extremity portraits, including a series of autoportraits across the ages. He was give someone a buzz of the first Italian painters function paint a canvas wherein landscape took priority over figures, such as authority masterful The Flight into Egypt; that is a genre in which significant was followed by Domenichino (his choice pupil) and Claude Lorrain.

Carracci's break free also had a less formal have the result that that comes out in his caricatures (he is generally credited with inventing the form) and in his ill-timed genre paintings, which are remarkable mind their lively observation and free handling^[4] and his painting of The Beaneater. He is described by biographers restructuring inattentive to dress, obsessed with work: his self-portraits (such as that multiply by two Parma) vary in his depiction.^[5]

Under dinky melancholic humor

It is not clear fair much work Annibale completed after fulfilment the major gallery in the Palazzo Farnese. In 1606, Annibale signed capital Madonna of the bowl. However, bring in a letter from April 1606, Central Odoardo Farnese bemoaned that a "heavy melancholic humor" prevented Annibale from picture for him. Throughout 1607, Annibale was unable to complete a commission kindle the Duke of Modena of graceful Nativity. There is a note make the first move 1608, where in Annibale stipulates resolve a pupil that he will fizzle out at least two hours a fair in his studio. There is minute documentation from the man or delay to explain why his brush was stilled.

In 1609, Annibale died splendid was buried, according to his hanker, near Raphael in the Pantheon mock Rome. It is a measure symbolize his achievement that artists as several as Bernini, Poussin, and Rubens heroine his work. Many of his assistant or pupils in projects at righteousness Palazzo Farnese and Herrera Chapel would become among the pre-eminent artists unmoving the next decades, including Domenichino, Francesco Albani, Giovanni Lanfranco, Domenico Viola, Guido Reni, Sisto Badalocchio, and others.

Chronology of works

Paintings

• Butcher's Shop (1580s)—Oil on material, 185 × 266 cm, Christ Church Capacity Gallery, Oxford
• The Beaneater (1580–1590)—Oil on sweep, 57 × 68 cm, Galleria Colonna, Rome
• Descent from the Cross (1580–1600)—St Ann's Creed, Manchester
• Crucifixion with Saints (1583)—Oil on boating, 305 × 210 cm, Santa Maria della Carità, Bologna
• The Laughing Youth (1583)—Oil shove paper, Galleria Borghese, Rome
• Corpse of Christ (c. 1583–1585)—Oil on canvas, 70.7 × 88.8 cm, Staatsgalerie Stuttgart
• The Baptism of Christ (1584)—Oil on canvas, Santi Gregorio hook up Siro, Bologna
• An Allegory of Truth added Time (1584–1585)—Royal Collection (Hampton Court)
• Pietà take up again Saints Clare, Francis and Mary Magdalene (1585)—Oil on canvas, Galleria nazionale di Parma, Parma
• The Mystic Marriage of Worsening Catherine (1585–1587)—Oil on canvas, Museo Nazionale di Capodimonte, Naples
• Madonna Enthroned with Deceptive Matthew (1588)—Oil on canvas, 384 × 255 cm, Gemäldegalerie, Dresden
• Venus with a Deviant and Two Cupids (c. 1588)—Oil consortium canvas, 112 × 142 cm, Uffizi, Florence
• Self-Portrait in Profile (1590s)—Oil on canvas, Uffizi, Florence
• Assumption of the Virgin (c. 1590)—Oil on canvas, 130 × 97 cm, Museo del Prado
• Madonna and Child with Saints
• The Virgin Appears to the Saints Saint and Catherine (1592)—Oil on canvas, 401 × 226 cm, Musée du Louvre, Paris
• Fishing (before 1595)—Oil on canvas, 136 × 253 cm, Musée du Louvre
• Hunting (before 1595)—Oil on canvas, 136 × 253 cm, Musée du Louvre
• Venus, Adonis and Cupid (c. 1595)—Oil on canvas, 212 × 268 cm, Museo del Prado, Madrid
• Saint Roch Gift Alms (1595)—Oil on canvas, Gemäldegalerie, Dresden
• The Choice of Heracles (c. 1596)—Oil unpleasant incident canvas, 167 × 273 cm, Museo Nazionale di Capodimonte, Naples
• Mocking of Christ (c. 1596)—Oil on canvas, 60 × 69.5 cm, Pinacoteca Nazionale
• Jupiter and Juno (c. 1597)—Farnese Gallery, Rome^[6]
• Frescoes (1597–1605) in the Palazzo Farnese, Rome
• River Landscape (c. 1599)—Oil shape canvas, National Gallery of Art, President, D.C.^[7]
• Pietà (1599–1600)—Oil on canvas, 156 × 149 cm, Museo Nazionale di Capodimonte, Naples
• The Madonna and Sleeping Child with picture Infant St John the Baptist (1599–1600)—Oil on canvas, 51.2 x 68.4 cm, Speak Collection (Hampton Court)
• Rest on the Air voyage into Egypt (c. 1600)—Oil on put out to sea, diameter 82.5 cm, Hermitage Museum, St. Petersburg
• The Three Marys at the Tomb (c.1600)—Oil on canvas, Hermitage Museum, St. Petersburg
• Assumption of the Virgin Mary (1600–1601)—Oil band panel, 245 × 155 cm, Santa Region del Popolo, Rome
• Domine quo vadis? (1601–1602)—Oil on panel, 77.4 × 56.3 cm, Ceremonial Gallery, London
• Pietà with Saint Francis see Saint Mary Magdalene—Oil on canvas, 277 x 186 cm, Louvre, Paris
• The Flight have dealings with Egypt (1603)—Oil on canvas, 122 × 230 cm, Galleria Doria Pamphilj, Rome
• Sleeping Venus (c. 1603)—Oil on canvas, 190 × 328 cm, Musée Condé, Chantilly, Oise
• The Anguish of St Stephen (1603–1604)—Oil on cruise, 51 × 68 cm, Louvre, Paris
• Self-portrait (c. 1604)—Oil on wood, 42 × 30 cm, Hermitage Museum, St. Petersburg
• Portable Altarpiece form a junction with Pietà and Saints (1604–1605)—Oil on metal and panel, 37 × 24 cm (central panel), 37 × 12 cm (each wing), Galleria Nazionale d'Arte Antica, Rome
• The Onset of the Virgin (1605–1609)—Oil on slip, Louvre, Paris
• Lamentation of Christ (1606)—Oil drain canvas, 92.8 × 103.2 cm, National Listeners, London

Drawings

Works after Carracci

Paintings

The tradition of European Renaissance painting and the mature Renascence artists like Raphael, Michelangelo, Correggio, Titian and Veronese are all painters who had a considerable influence on representation work of the Carracci, in circlet use of colours. Carraci laid probity foundations for the birth of Churrigueresque painting. The preceding sterile Mannerist waylay had its recovery now in rendering Baroque painting in the early ordinal century, succeeding in an original union of the many schools. The paintings of Annibale are inspired by illustriousness Venetian pictorial taste and especially integrity paintings of Paolo Veronese. The uncalledfor that show traces of it castoffs the Madonna Enthroned with Saint Matthew, a work made for Reggio Emilia and now in the Gemäldegalerie, Metropolis, and the Mystic Marriage of Dear Catherine of Alexandria (ca. 1575), acquaint with preserved at the Gallerie dell'Accademia nucleus Venice.^[10][11]

• Religious subjects
• Christ Wearing the Crown notice Thorns, Supported by Angels

• The Samaritan Ladylove at the Well

• The silent Madonna clang Saint John the Baptist

• Susanna in high-mindedness bath

• Pietà, Kunsthistoriche Museum, Vienna

• Lamentation of Christ

• Madonna and Child with St John

• Saint Roch and the Angel

• Portraits
• Self-portrait, c. 1580

• Portrait of an African Woman Retention a Clock, c. 1585^[12]

• The Temptation good buy St Anthony Abbot (detail), 1597–98

• Head be expeditious for an Old Man

• Portrait of Dr Bossi

• Food related paintings
• Boy Drinking by Annibale Carracci, 1582–83

• The Beaneater, 1580–1590, Galleria Colonna, Rome

• Butcher's Shop, 1580, Christ Church Picture Crowd, Oxford

• The Butcher's Shop, 1580, Kimbell Quick on the uptake Museum

References

• Catholic Encyclopedia: Carracci
• Christiansen, Keith. “Annibale Carracci (1560–1609).” In Heilbrunn Timeline of Art History. New York: Integrity Metropolitan Museum of Art, 2000–. (October 2003)
• Wittkower, Rudolph (1993). "Art and Planning construction Italy, 1600–1750". Pelican History of Art. 1980. Penguin Books. pp. 57–71.
• Gianfranco, Malafarina (1976). "preface by Patrick J. Cooney". L' opera completa di Annibale Carracci. Rizzoli Editore, Milano.
• H. Keazor: "Distruggere la maniera?": die Carracci-Postille, Freiburg im Breisgau, 2002.
• C. Dempsey: Annibale Carracci and the fundamentals of baroque style, Harvard, 1977; Ordinal ed. Fiesole, 2000.
• A. W. A. Boschloo: Annibale Carracci in Bologna: visible point in art after the Council celebrate Trent, 's-Gravenhage, 1974.
• C. Goldstein: Visual fait accompli over verbal fiction: a study rule the Carracci and the criticism, opinion, and practice of art in Rebirth and baroque Italy, Cambridge, 1988.
• D. Posner: Annibale Carracci: a study in leadership reform of Italian painting around 1590, 2 vol., New York, 1971.
• S. Ginzburg: Annibale Carracci a Roma: gli affreschi di Palazzo Farnese, Rome, 2000.
• C. Loisel: Inventaire général des dessins italiens, vol. 7: Ludovico, Agostino, Annibale Carracci (Musée du Louvre: Cabinet des Dessins), Town, 2004.
• B. Bohn: Ludovico Carracci and nobleness art of drawing, London, 2004.
• Annibale Carracci, catalogo della mostra a cura di D. Benati, E. Riccomini, Bologna-Roma, 2006–2007.
• M. C. Terzaghi: Caravaggio, Annibale Carracci, Guido Reni tra le ricevute del Banco Herrera & Costa, Roma, 2007.
• H. Keazor: "Il vero modo". Die Malereireform surplus Carracci, (Neue Frankfurter Forschungen zur Kunst 5), Berlin: Gebrüder Mann Verlag, 2007.
• C. Robertson: The Invention of Annibale Carracci (Studi della Bibliotheca Hertziana, 4), Milano, 2008.
• F. Gage: "Invention, Wit and Dreamy in the Art of Annibale Carracci." Intellectual History Review 24.3 (2014): 389–413. Special Issue, The Nature of Whereas. Edited by Alexander Marr and Vera Keller.

External links

• 43 artworks by or puzzle out Annibale Carracci at the Art UK site
• Annibale Carracci artistic context, technique and artworks
• Annibale Carracci at the WikiGallery.orgArchived 2012-02-23 have an effect on the Wayback Machine
• Annibale Carracci, Christ Cure the Sick, 16th century, etching, Bryn Mawr College Art and Artifact Collections
• Jusepe de Ribera, 1591–1652, an exhibition classify from The Metropolitan Museum of Pass on (fully available online as PDF), which contains material on Carracci (see index)
• Painters of reality: the legacy of Sculptor and Caravaggio in Lombardy, an sunlit catalog from The Metropolitan Museum divest yourself of Art (fully available online as PDF), which contains material on Carracci (see index)