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Urban VIII's personal emblem is the rising sun [and a] visitor to the palace would have seen the sun of Divine Wisdom and the constellation of the lion (as well as in the throne) in Sacchi's fresco... the eye [can] take in the fresco but also to penetrate beyond to the chapel next door. From the right point of view the... |
St Gregory and the Miracle of the Corporal |
Also known as the Miracle of St Gregory the Great, this painting was executed in 1625-57. It is now in the Pinacoteca Vaticana. |
The canvas portrays the legend that the Empress Constantia had begged Pope Gregory I to give her relics of the body of Saints Peter and Paul, but the pope, not daring to disturb the remains of these saints, sent her a fragment of the linen which had enveloped the remains of Saint John the Evangelist. Constantia rejecte... |
Vision of St. Romuald |
Completed in 1631, this painting in the Pinacoteca Vaticana recalls an episode in the life of the early Benedictine monk, Saint Romuald, of the Camaldolese Order, who is said to have dreamt that members of his Order wearing white ascended into heaven (as seen in background). The serenity and gravity of the monks, array... |
Other works |
Other leading examples of Sacchi's work are The Death of St. Anne, in San Carlo ai Catinari, Rome; St. Andrew, in the Quirinal Palace; St. Joseph, at Caponile Case; and The Three Marys (1634), at Palazzo Barberini, Rome. The Birth of St. John the Baptist and a Portrait of Francesco Albani among other interesting works ... |
Notes |
References |
Marcheteau de Quinçay, Christophe (2007). Didon abandonnée de Andrea Sacchi. Caen: Musée des Beaux-Arts de Caen. |
External links |
Web Gallery of Art entry |
Annibale Carracci (Italian pronunciation: [anˈniːbale karˈrattʃi]; November 3, 1560 – July 15, 1609) was an Italian painter and instructor, active in Bologna and later in Rome. Along with his brother and cousin, Annibale was one of the progenitors, if not founders of a leading strand of the Baroque style, borrowing fro... |
Early career |
Annibale Carracci was born in Bologna, and in all likelihood was first apprenticed within his family. In 1582, Annibale, his brother Agostino and his cousin Ludovico Carracci opened a painters' studio, initially called by some the Academy of the Desiderosi (desirous of fame and learning) and subsequently the Incamminat... |
In many early Bolognese works by the Carraccis, it is difficult to distinguish the individual contributions made by each. For example, the 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... |
In 1587–88, Annibale is known to have had travelled to Parma and then Venice, where he joined his brother Agostino. From 1589 to 1592, the three Carracci brothers completed the frescoes on the Founding of Rome for Palazzo Magnani in Bologna. By 1593, Annibale had completed an altarpiece, Virgin on the throne with St J... |
Frescoes in Palazzo Farnese |
Based on the prolific and masterful frescoes by the Carracci in Bologna, Annibale was recommended by the Duke of Parma, Ranuccio I Farnese, to his brother, the Cardinal Odoardo Farnese, who wished to decorate the piano nobile of the cavernous Roman Palazzo Farnese. In November–December 1595, Annibale and Agostino trave... |
Annibale meanwhile developed hundreds of preparatory sketches for the major work, wherein he led a team painting frescoes on the ceiling of the grand salon with the secular quadri riportati of The Loves of the Gods, or as the biographer Giovanni Bellori described it, Human Love governed by Celestial Love. Although the ... |
Throughout the 17th and 18th centuries, the Farnese Ceiling was considered the unrivaled masterpiece of fresco painting for its age. They were not only seen as a pattern book of heroic figure design, but also as a model of technical procedure; Annibale's hundreds of preparatory drawings for the ceiling became a fundame... |
Contrast with Caravaggio |
The 17th-century critic Giovanni Bellori, in his survey entitled Idea, praised Carracci as the paragon of Italian painters, who had fostered a "renaissance" of the great tradition of Raphael and Michelangelo. On the other hand, while admitting Caravaggio's talents as a painter, Bellori deplored his over-naturalistic st... |
By the 21st century, observers had warmed to the rebel myth of Caravaggio, and often ignored the profound influence on art that Carracci had. Caravaggio almost never worked in fresco, regarded as the test of a great painter's mettle. On the other hand, Carracci's best works are in fresco. Thus the somber canvases of Ca... |
In the 21st century, most connoisseurs making the pilgrimage to the Cerasi Chapel in Santa Maria del Popolo would ignore Carracci's Assumption of the Virgin altarpiece (1600–1601) and focus on the flanking Caravaggio works. It is instructive to compare Carracci's Assumption with Caravaggio's Death of the Virgin. Among ... |
In the century following his death, to a lesser extent than Bernini and Cortona, Carracci and baroque art in general came under criticism from neoclassic critics such as Winckelmann and even later from the prudish John Ruskin, as well as admirers of Caravaggio. Carracci in part was spared opprobrium because he was seen... |
Landscapes, genre art and drawings |
On July 8, 1595, Annibale completed the painting of Saint Roch Giving Alms, now in Dresden Gemäldegalerie. Other significant late works painted by Carracci in Rome include Domine quo vadis? (c. 1602), which reveals a striking economy in figure composition and a force and precision of gesture that influenced on Poussin ... |
Carracci was remarkably eclectic in thematic, painting landscapes, genre scenes, and portraits, including a series of autoportraits across the ages. He was one of the first Italian painters to paint a canvas wherein landscape took priority over figures, such as his masterful The Flight into Egypt; this is a genre in wh... |
Carracci's art also had a less formal side that comes out in his caricatures (he is generally credited with inventing the form) and in his early genre paintings, which are remarkable for their lively observation and free handling and his painting of The Beaneater. He is described by biographers as inattentive to dress,... |
Under a melancholic humor |
It is not clear how much work Annibale completed after finishing the major gallery in the Palazzo Farnese. In 1606, Annibale signed a Madonna of the bowl. However, in a letter from April 1606, Cardinal Odoardo Farnese bemoaned that a "heavy melancholic humor" prevented Annibale from painting for him. Throughout 1607, A... |
In 1609, Annibale died and was buried, according to his wish, near Raphael in the Pantheon of Rome. It is a measure of his achievement that artists as diverse as Bernini, Poussin, and Rubens praised his work. Many of his assistants or pupils in projects at the Palazzo Farnese and Herrera Chapel would become among the p... |
Chronology of works |
Paintings |
Butcher's Shop (1580s)—Oil on canvas, 185 × 266 cm, Christ Church Picture Gallery, Oxford |
The Beaneater (1580–1590)—Oil on canvas, 57 × 68 cm, Galleria Colonna, Rome |
Descent From the Cross (1580–1600)—St. Ann's, Manchester |
Crucifixion with Saints (1583)—Oil on canvas, 305 × 210 cm, Santa Maria della Carità, Bologna |
The Laughing Youth (1583)—Oil on 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 e Siro, Bologna |
An Allegory of Truth and Time (1584-1585)—Royal Collection (Hampton Court) |
Pietà with Saints Clare, Francis and Mary Magdalene (1585)—Oil on canvas, Galleria nazionale di Parma, Parma |
The Mystic Marriage of St Catherine (1585–1587)—Oil on canvas, Museo Nazionale di Capodimonte, Naples |
Madonna Enthroned with St Matthew (1588)—Oil on canvas, 384 × 255 cm, Gemäldegalerie, Dresden |
Venus with a Satyr and Two Cupids (c. 1588)—Oil on 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 |
The Virgin Appears to the Saints Luke 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 Giving Alms (1595)—Oil on canvas, Gemäldegalerie, Dresden |
The Choice of Heracles (c. 1596)—Oil on 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 |
Frescoes (1597–1605) in the Palazzo Farnese, Rome |
River Landscape (c. 1599)—Oil on canvas, National Gallery of Art, Washington, D.C. |
Pietà (1599–1600)—Oil on canvas, 156 × 149 cm, Museo Nazionale di Capodimonte, Naples |
The Madonna and Sleeping Child with the Infant St John the Baptist (1599-1600)-Oil on canvas, 51.2 x 68.4 cm, Royal Collection (Hampton Court) |
Rest on the Flight into Egypt (c. 1600)—Oil on canvas, 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 on panel, 245 × 155 cm, Santa Maria del Popolo, Rome |
Domine quo vadis? (1601–1602)—Oil on panel, 77.4 × 56.3 cm, National Gallery, London |
Pietà with Saint Francis and Saint Mary Magdalene-Oil on canvas, 277 x 186 cm, Louvre, Paris |
The Flight into 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 Martyrdom of St Stephen (1603–1604)—Oil on canvas, 51 × 68 cm, Louvre, Paris |
Self-portrait (c. 1604)—Oil on wood, 42 × 30 cm, Hermitage Museum, St. Petersburg |
Portable Altarpiece with Pietà and Saints (1604–1605)—Oil on copper and panel, 37 × 24 cm (central panel), 37 × 12 cm (each wing), Galleria Nazionale d'Arte Antica, Rome |
The Birth of the Virgin (1605-1609)-Oil on canvas, Louvre, Paris |
Lamentation of Christ (1606)—Oil on canvas, 92.8 × 103.2 cm, National Gallery, London |
Drawings |
Atlante Red chalk, Louvre, Paris |
Drawings (exhibit, National Gallery of Art) |
Works after Carracci |
Venus and Adonis (c. 1595)—Oil on canvas, 217 × 246 cm, Kunsthistorisches Museum, Vienna |
Paintings |
The tradition of Italian Renaissance painting and the mature Renaissance artists like Raphael, Michelangelo, Correggio, Titian and Veronese are all painters who had a considerable influence on the work of the Carracci, in his use of colours. Carraci laid the foundations for the birth of Baroque painting. The preceding... |
Religious subjects |
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