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Portfolio Annibale Carracci. The complete works. (195: Drawing, Etching, Frescoes, Oil, Oil On Canvas, Oil On Copper, Pen)

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  • Annibale Carracci - The Choice of Heracles
  • Annibale Carracci - River Landscape
  • Annibale Carracci - Mocking of Christ
  • Annibale Carracci - The beaneater Sun
  • Annibale Carracci - The Penitent Magdalen in a Landscape
  • Annibale Carracci - Pietà with Sts Francis and Mary Magdalen
  • Annibale Carracci - The Beaneater
  • Annibale Carracci - Man with Monkey
  • Annibale Carracci - The Dead Christ Mourned (The Three Maries)
  • Annibale Carracci - Virgin and Unicorn (A Virgin with a Unicorn)
  • Annibale Carracci - An allegory of Truth and Time
  • Annibale Carracci - Perseus and Phineas
  • Annibale Carracci - The Temptation of St Anthony Abbot
  • Annibale Carracci - Head of a Man
  • Annibale Carracci - The Dead Christ
  • Annibale Carracci - Venus, Adonis, and Cupid
  • Annibale Carracci - Adorned by the Graces
  • Annibale Carracci - Rest on Flight into Egypt
  • Annibale Carracci - The Mystic Marriage of St Catherine
  • Annibale Carracci - Landscape with the Toilet of Venus
  • Annibale Carracci - Venus inebriated by a Satyr (La Nuda)
  • Annibale Carracci - Two Children Teasing a Cat
  • Annibale Carracci - Holy Women at Christ' s Tomb
  • Annibale Carracci - Christ in Glory
  • Annibale Carracci - The coronation of the Virgin
  • Annibale Carracci - frescoes-The Galleria Farnese
  • Annibale Carracci - The Dead Christ Mourned
 
All 195 Artworks from Annibale Carracci





Annibale Carracci (November 3, 1560 – July 15, 1609) was an Italian Baroque painter.

Early career
Annibale Carracci was born in Bologna, and in all likelihood 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 Incamminati (progressives; literally "of those opening a new way"). While the Carraccis laid emphasis on the typically Florentine linear draftsmanship, as exemplified by Raphael and Andrea del Sarto, their interest in the glimmering colours and mistier edges of objects derived from the Venetian painters, notably the works of Venetian Oil Painter Titian, which Annibale and Agostino studied during their travels around Italy in 1580-81 at the behest of the elder Caracci Lodovico. This eclecticism was to become the defining trait of the artists of the Baroque Emilian or Bolognese School.

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 the Baptism of Christ for the church of San Gregorio in Bologna. In 1587, he painted the Assumption for the church of San Rocco in Reggio Emilia.

In 1587-88, Annibale is known to have had travelled to Parma and then Venice, where he joined his brother Agostino. From 1589-92, the three Carraccis 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 John and St Catherine, in collaboration with Lucio Massari. His Resurrection of Christ also dates from 1593. In 1592, he painted an Assumption for the Bonasoni chapel in San Francesco. During 1593-1594, all three Carraccis were working on frescoes in Palazzo Sampieri in Bologna.

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 of 1595, Annibale and Agostino traveled to Rome to begin decorating the Camerino with stories of Hercules, appropriate since the room housed the famous Greco-Roman antique sculpture of the hypermuscular Farnese Hercules.

Annibale meanwhile developed hundreds of preparatory sketches for the major product, 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 ceiling is riotously rich in illusionistic elements, the narratives are framed in the restrained classicism of High Renaissance decoration, drawing inspiration from, yet more immediate and intimate, than Michelangelo's Sistine Ceiling as well as Raphael's Vatican Logge and Villa Farnesina frescoes. His work would later inspire the untrammelled stream of Baroque illusionism and energy that would emerge in the grand frescoes of Cortona, Lanfranco, and in later decades Andrea Pozzo and Gaulli.

Throughout 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 fundamental step in composing any ambitious history painting.

Contrast with Caravaggio
The 17th century critic Giovanni Bellori, in his survey titled 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 style, if not his turbulent morals and persona. He thus viewed the Caravaggisti styles with the same gloomy dismay. Painters were urged to depict the Platonic ideal of beauty, not Roman street-walkers. Yet Carracci and Caravaggio patrons and pupils did not all fall into irreconcilable camps. Contemporary patrons, such as Marquess Vincenzo Giustiniani, found both applied showed excellence in maniera and modeling.

In our century, observers have warmed to the rebel myth of Caravaggio, and often ignore 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 Caravaggio, with benighted backgrounds, are suited to the contemplative altars, and not to well lit walls or ceilings such as this one in the Farnese. Wittkower was surprised that a Farnese cardinal surrounded himself with frescoes of libidinous themes, indicative of a "considerable relaxation of counter-reformatory morality". This thematic choice suggests Carracci may have been more rebellious relative to the often-solemn religious passion of Caravaggio's canvases. Wittkower states Carracci's "frescoes convey the impression of a tremendous joie de vivre, a new blossoming of vitality and of an energy long repressed".

Today, unfortunately, 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 stunning flanking Caravaggio works. It is instructive to compare Carracci's Assumption with Caravaggio's Death of the Virgin. Among early contemporaries, Carracci would have been an innovator. He re-enlivened Michelangelo's visual fresco vocabulary, and posited a muscular and vivaciously brilliant pictorial landscape, which had been becoming progressively crippled into a Mannerist tangle. While Michelangelo could bend and contort the body into all the possible perspectives, Carracci in the Farnese frescoes had shown how it could dance. The "ceiling"-frontiers, the wide expanses of walls to be frescoed would, for the next decades, be thronged by the monumental brilliance of the Carracci followers, and not Caravaggio's followers.

In the following century, it was not the admirers of Caravaggio who would have dismissed Carracci, but to a lesser extent than Bernini and Cortona, baroque art in general came under criticism from neoclassic critics such as Winckelmann and even later from the prudish John Ruskin. Carracci in part was spared opprobrium because he was seen as an emulator of the highly admired Raphael, and in the Farnese frescoes, attentive to the proper themes such as those of antique mythology.

Landscapes, genre art and drawings
On July 8, 1595, Annibale completed the painting of San Rocco distributing 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 and through him, the language of gesture in painting.

Carracci was remarkably eclectic in thematic, painting landcapes, 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 which he was followed by Domenichino (his favorite pupil) and Claude Lorraine.

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 (see The Butcher's Shop) and his painting of The Beaneater. He is described by biographers as inattentive to dress, obsessed with work: his self-portraits vary in his depiction.

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 signs a Madonna of the bowl. However, in a letter from April 1606, Cardinal Odoardo Farnese bemoans that a "heavy melancholic humor" prevented Annibale from painting for him. Throughout 1607, Annibale is unable to complete a commission for the Duke of Modena of a Nativity. There is a note from 1608, where in Annibale stipulates to a pupil that he will spend at least two hours a day in his studio.

There is little documentation from the man or time to explain why his brush was stilled. Speculation abounds.

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 pre-eminent artists of the next decades, including Domenichino, Francesco Albani, Giovanni Lanfranco, Domenico Viola, Guido Reni, Sisto Badalocchio, and others.

[Biography - Annibale Carracci - 10Ko]
Annibale Carracci (3 Novembre, 1560 - Juillet 15, 1609) est un peintre italien baroque. Début de carrière Annibale Carracci est né à Bologne, et selon toute vraisemblance, premier apprenti au sein de sa famille. En 1582, Annibale, son frère Agostino et son cousin Ludovico Carracci a ouvert un atelier de peintres, d'abord appelée par certains l'Acad...
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Annibale Carracci (3. November 1560 - 15. Juli 1609) war ein italienischer Maler des Barock. Frühe Karriere Annibale Carracci in Bologna geboren, und aller Wahrscheinlichkeit zunächst innerhalb seiner Familie in die Lehre. Im Jahre 1582, Annibale, öffnete seinen Bruder Agostino und seinem Vetter Ludovico Carracci ein Maler-Studio, zunächst durch ei...
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Annibale Carracci (3 novembre 1560 - 15 luglio 1609) è stato un pittore barocco italiano. Gli inizi della carriera Annibale Carracci nacque a Bologna, e con ogni probabilità prima apprendistato all'interno della sua famiglia. Nel 1582, Annibale, il fratello Agostino e al cugino Ludovico Carracci ha aperto uno studio di pittori ', inizialmente chiam...
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Annibale Carracci (3 nov. 1560-15 jul. 1609) fue un pintor italiano del Barroco. Inicios de su carrera Annibale Carracci, nació en Bolonia, y con toda probabilidad, primero como aprendiz dentro de su familia. En 1582, Aníbal, su hermano Agostino y su primo Ludovico Carracci abrió un estudio de pintores, inicialmente llamada por algunos la Academia ...
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Аннибале Карраччи (3 ноября 1560 - 15 июля 1609 г.) был итальянским барокко художником. Ранняя карьера Аннибале Карраччи родился в Болонье, и по всей вероятности, первым учеником в его семье. В 1582 году Аннибале, его брат Агостино, и его двоюродный брат Лодовико Карраччи открыл студию художников, первоначально называлась некоторыми Академии Deside...
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Annibale Carracci(11月3​​日,1560 - 1609年7月15日)是意大利的巴洛克风格的画家。 早期的职业生涯 Annibale Carracci出生于博洛尼亚,并在所有的可能性,首先在他的家人学徒。 Annibale,他的弟弟阿戈斯蒂诺,和他的堂兄卢多维科Carracci 1582年,开了一个画家的工作室,最初是由一些学院的Desiderosi(名利和学习的渴望)和随后的Incamminati(进步的要求 字面意思是“那些开辟了一条新的方式“)。虽然Carraccis奠定了典型的佛罗伦萨线性draftsmanship重视,例如拉斐尔和安德烈 - Sarto,他们在闪闪发光的颜色和mistier边缘来自威尼斯画家的对象,尤其是威尼斯人油画家提香的作品的兴趣,这Annib...
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Annibale Carracci (3 de novembro de 1560 - 15 de julho de 1609) foi um pintor italiano barroco. Início de carreira Annibale Carracci nasceu em Bolonha, e com toda a probabilidade primeiro colocado dentro de sua família. Em 1582, Annibale, seu irmão Agostino e seu primo Ludovico Carracci abriram um estúdio de pintores, inicialmente chamado por algun...
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アンニーバレカラッチ(1560年11月3日 - 1609年7月15日)はイタリアのバロック画家。 初期の経歴 アンニーバレカラッチはボローニャで生まれ、そしてすべての可能性に最初に彼の家族の中で修行した。 1582年、アンニーバレ、彼の兄弟アゴ、そして彼のいとこルドカラッチは、最初にDesiderosiのあるアカデミー(名声と学習の望んでいる)によって呼び出される、画家のスタジオをオープンし、その後Incamminati(進歩、文字通り"それらの開口部の新道")。 Carraccisは、ラファエルとアンドレアデルサルト、特にヴェネツィアの画家から派生したオブジェクトのかすかに光る色とmistierエッジ、ベネチアン油画家ティツィアーノの作品への関心、アンニーバレとに代表される、典型的にはフィ...
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