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This is the Cerasi chapel in Santa Maria del Popol, Rome. The chapel is made in the Baroque style for Tiberio Cerasi (Treasurer-General of the Apostolic Camera) and finished in 1606 - replacing an older funerary chapel. This one contains what is probably the most known works of art in this church: two paintings by Caravaggio. You can see one of them here, to the left of the altar - depicting the crucifixion of Saint Peter. The other one is just opposite and can't be seen from this angle. Funny thing is, I have seen these paintings many times in art books, but they give a quite different impression like this. It is not just the usual, that the essence of a painting sometimes can be hard to capture in a flat photo, but also that the surroundings, the gold and glitter and opulence gives the painting itself a very different feeling than when you just look at the painting itself, out of context. And we have to remember, these paintings were made for this particular context.
The painting by the altar is the Assumption of the Virgin Mary, painted by Annibale Carracci.
The (ugly) photo sign is not that you can't take pictures, just that you can't use a flash.
Santa Maria del Popolo was built in 1472-1477, replacing a medieval church (said to have been built on the spot where the wicked emperor Nero had been buried - though this is now very much doubted and that founding history is more to be viewed as a myth). It was originally a pure Renaissance church, but got some remodelling done in the 17th century which gives the church a touch of Baroque too.
Strutture a forma di barile con scarichi.Barrel dhaped structures with mains. Via Carracci, Bologna 2018
Floral design by Adanna Omeni. Inspired by painting The Assumption of the Virgin by Ludovico Carracci. Photographed at the North Carolina Museum of Art, Raleigh, North Carolina, USA.
Just back from a short break in Bologna, where I have been doing a lot of street photography. So I thought I would start with a non-street shot.
Designed by SET Architects and built in less than two months, the Bologna Shoah Memorial is a recognizable landmark of great emotional power.
It is located at the intersection of Via dé Carracci and Ponte Matteotti, a city square encompassed by the newly installed high-speed train station of Bologna. This area is primed to become the new connective pole of the city. As such, the monument attracts passers-by, inviting them to reflect on the tragedy of the Holocaust.
Designed by SET Architects and built in less than two months, the Bologna Shoah Memorial is a recognizable landmark of great emotional power.
It is located at the intersection of Via dé Carracci and Ponte Matteotti, a city square encompassed by the newly installed high-speed train station of Bologna. This area is primed to become the new connective pole of the city. As such, the monument attracts passers-by, inviting them to reflect on the tragedy of the Holocaust.
Elisabetta Sirani - "Porcia hurting in the thigh" (1664, oil on canvas, 101 x 138 cm, Fondazione Cassa di Rispamio, Bologna)
Elisabetta Sirani was an artist of Italian classicism, belonging to the Bologna School. This school originated in the Workshop of the Carracci and one of their most famous representatives was Guido Reni,of which we have already seen several works. But I'm sure this girl's name only rings a few. And it's a shame, because she was a great painter. He had trained in the workshop of his father, Giovanni Andrea Sirani, disciple of Guido Reni, but in a very short time managed to give soups with slingshot to his father. She became very famous and ended up running the family workshop, where she trained many other women. He died very young, at the age of 27, but despite being active for only a decade he left a very extensive production.
This is one of his best works, a painting depicting a historical fact starring another woman of break and tears, the Roman Porcia Catonis,daughter of Cato and wife of Marcus June Brutus, one of which was charged to Julius Caesar. The story of the painting appears in the Lives of Pluto. Porcia suspected that her husband was hiding her plans about the conspiracy against Julius Caesar and to get him to trust her, he cut his thigh with a knife, making himself a much more serious wound than the scratch that Sirani has painted, since it caused him severe fevers. Holding the pain like a jabata, she waited a whole day to teach Brutus the wreck, showing her that women are as strong as men and that she would be able to keep it a secret even if they tortured her. Unsurprisingly, Brutus brought her up to date on the whole thing.
Although the painting was commissioned by wealthy sed merchant Simone Tassi, Sirani he hesd is more than likely to choose the subject, with which he was already claiming his trade. It's easy to make a comparison between Porcia's show of strength and the difficulties Sirani had to overcome in order to become famous in a male-led art world. Porcia holds the dagger and Sirani holds the brushes, attributes that were then typical of men, rejecting the traditional female spinning and knitting activities performed by the three women at the bottom of the painting. A full-rule feminist plea.
DHW_0101
3) In Kromeriz, this unique garden, UNESCO, built in 1840. She is the Czech language also invited Libosad. (Pleasing sets).
4) The Kromeriz is also totally unique picture gallery.
includes:
Tiziano Vecellio: Apollo and Marsyas
Jan Brueghel: A rustic brawl
English King Charles I and his wife Henrietta Marie
Lucas Cranach the Elder: Beheading of St. John the Baptist,
Beheading of St. Catherine
Latona and the farmers
Annibale Carracci.
Anthonis van Dyck
P. Caliari
H. von Aachen,
J. Breughel Wed,
P. Coeck van Aelst,
J. Bassano
and more.
Ludovico Carracci (Bologna, April 21, 1555 - Bologna, November 13, 1619) cousin of the brothers Agostino and Annibale Carracci. - Conversion of Saul (1587-88) - oil on canvas 279 x 171 cm - Galleria Nazionale di Bologna
Fu commissionata a Ludovico da Emilio Zambeccari per la cappella di famiglia in San Francesco e l'artista si impegnò a eseguirla in sei mesi a partire dall'agosto del 1587.
Si tratta di un'opera eccezionale, nella quale Ludovico crea uno spazio che è già compiutamente barocco, donandoci un risultato di straordinaria intensità drammatica.
It was commissioned to Ludovico by Emilio Zambeccari for the family chapel in San Francesco and the artist undertook to execute it in six months starting in August 1587.
It is an exceptional work, in which Ludovico creates a space that is already fully baroque, giving us a result of extraordinary dramatic intensity.
The Rape of Proserpina, more accurately translated as The Abduction of Proserpina, is a large Baroque marble group sculpture by Italian artist Gian Lorenzo Bernini, executed between 1621 and 1622, when Bernini's career was in its early stage. The group, finished when Bernini was just 23 years old, depicts the abduction of Proserpina, who is seized and taken to the underworld by the god Pluto. It features Pluto holding Proserpina aloft, and a Cerberus to symbolize the border into the underworld that Pluto carries Proserpina into.
Cardinal Scipione Borghese commissioned the sculpture and gave it to the newly appointed Cardinal-nephew, Ludovico Ludovisi, possibly as a means of gaining favour. The choice to depict the myth of Proserpina may relate to the recent death of Pope Paul V, or to the recent empowerment of Ludovico. Bernini drew inspiration from Giambologna and Annibale Carracci for the sculpture, which is the only work for which preparatory material survives. The Rape of Proserpina is made of rare Carrara marble, and was originally placed on a pedestal, since-destroyed, with a poem by Maffeo Barberini. It has been praised for its realism, as the marble mimics other materials like flesh. The detail is notable; for instance, a trickle of tears contributes to the expressiveness of Proserpina's face.
Venus with a Satyr and Two Cupids or The Bacchante (La Baccante) is a 1588-1590 oil on canvas painting by Annibale Carracci, now in the Uffizi in Florence. Its dating is based on its strong Venetian influence - the artist was briefly in the city at the end of the 1580s.
The work is first recorded in 1620, when the Bolognese gentleman Camillo Bolognetti sold it to an emissary from Cosimo II de' Medici, Grand Duke of Tuscany. It was then taken to Florence and remained in the Medici collections, displayed in the Tribuna of the Uffizi and appearing in the top left of Johann Zoffany's painting of the same name beside Guido Reni's Charity and directly above Raphael's Madonna della Seggiola. It was covered by another canvas during the 18th century due to its erotic charge, only removed early in the 19th century.
Afternoon in downtown Point Reyes Station and the sun is casting a nice glow on the old Grandi Building. The Grandi Building has served as a hotel, a hardware store, and a post office during its 100 plus year existence. Surprisingly, it has sat vacant for the past three decades.
Not so surprisingly, parked in front, is the Black Star Pig Co. food truck that provides barbecue edibles--when its open. The pit boss, Tony Carracci proudly proclaims, "When Your workday ends my brisket still has 4 hours to go.” I don't know where his brisket has to go but mine is happily right with me.
On the other corner, the Old Western Saloon is a throwback classic western saloon with the wood floors, a long bar, and a nice dive bar atmosphere. If I were a fighter instead of a lover, this would be my bar of choice for a good old-fashioned-knockdown-saloon-stomping brawl.
So many options on just one corner.
Point Reyes Station CA
The Crucifixion of Saint Peter is a work by Michelangelo Merisi da Caravaggio, painted in 1601 for the Cerasi Chapel of Santa Maria del Popolo in Rome. Across the chapel is a second Caravaggio work depicting the Conversion of Saint Paul on the Road to Damascus (1601). On the altar between the two is the Assumption of the Virgin Mary by Annibale Carracci.
The two lateral paintings were commissioned in September 1600 by Monsignor Tiberio Cerasi, Treasurer-General to Pope Clement VIII, who purchased the chapel from the Augustinian friars on 8 July 1600 and commissioned Carlo Maderno to rebuild the small edifice in Baroque style. The contract for the altarpiece with Carracci has not been preserved but it is generally assumed that the document had been signed somewhat earlier, and Caravaggio had to take into consideration the other artist's work and the overall iconographic programme of the chapel. Cerasi nourished a deep devotion towards Saint Peter and Paul, and invoked them in his will. Together the two saints represented the foundation of the Catholic Church, and they were called the Princes of the Apostles. Both had a strong connection to the city of Rome and the papacy. Caravaggio's paintings were thus intended to express Cerasi's attachment to the Church of Rome and his closeness to papal power. Their position in the chapel was important but the devotional focus was still on the Assumption of the Virgin Mary on the altar in the middle. The juxtaposition of the two scenes had a well-known precedent in the frescos of the Capella Paolina at the Apostolic Palace (1542–1549) but the paintings of Caravaggio were starkly different from the crowded Mannerist scenes of Michelangelo.
Although much has been said about the supposed rivalry between Carracci and Caravaggio, there is no historical evidence about any serious tensions. Both were successful and sought-after artists in Rome. Caravaggio gained the Cerasi commission right after his celebrated works in the Contarelli Chapel had been finished, and Carracci was busy creating his great fresco cycle in the Palazzo Farnese. In these circumstances there was little reason for them to regard each other as business rivals, states Denis Mahon.
The contract signed on 24 September 1600 stipulates that "the distinguished painter, Michelangelo Merisi da Caravaggio" will paint two large cypress panels, ten palms high and eight palms wide, representing the conversion of Saint Paul and the martyrdom of Saint Peter within eight months for the price of 400 scudi. The contract gave a free hand to the painter to choose the figures, persons and ornaments depicted in the way as he saw fit, "to the satisfaction however of his Lordship", and he was also obliged to submit preparatory studies before the execution of the paintings. Caravaggio received 50 scudi as advance payment from the banker Vincenzo Giustiniani with the rest earmarked to be paid on completion. The dimensions specified for the panels are virtually the same as the size of the existing canvasses.
When Tiberio Cerasi died on 3 May 1601, Caravaggio was still working on the paintings, as attested by an avviso dated 5 May which mentioned that the chapel was being decorated by the hand of the "famosissimo Pittore", Michelangelo da Caravaggio. A second avviso dated 2 June proves that Caravaggio was still at work on the paintings a month later. He completed them sometime before 10 November when he received the final instalment from the heirs of Tiberio Cerasi, the Fathers of the Ospedale della Consolazione. The total compensation for the paintings was reduced to 300 scudi for unknown reasons.
The paintings were finally installed in the chapel on 1 May 1605 by the woodworker Bartolomeo who received four scudi and fifty baiocchi from the Ospedale for his work.
Francesco Albani (Bologna, August 17, 1578 - Bologna, October 4, 1660) - Four Elements Fire (1625-28.) - oil on canvas - Galleria Sabauda, Turin
Albani realizzò l serie dei quattro elementi fra il 1628 e il 1628 su commissione del Cardinale Maurizio di Savoia. Egli desunse i temi iconografici dalle immagini di Filostrato, in linea con il gusto classicista e l'erudizione letteraria della borghesia romana del tempo. I quattro tondi, per quanto memori dell'insegnamento di Annibale Carracci, si caratterizzano per il lirismo e la preziosità pittorica tipica dell'artista e per questo furono lodati dai biografi del XVIII scolo. La serie giunse a Torino nel 1633, suscitando notevole interesse presso i contemporanei che le dedicarono composizioni letterarie e interpretazioni a sfondo simbolico e politico. Inizialmente venne collocata a Villa della Regina, poi al castello del Valentino, nel 1692 spostata nelle raccolte di Vittorio Amedeo II, confluendo infine alla Sabauda per via dinastica.
Albani created the Four Elements series between 1628 and 1628 on commission from Cardinal Maurizio of Savoy. He drew the iconographic themes from the images of Philostratus, in line with the classicist taste and literary erudition of the Roman bourgeoisie of the time. The four tondi, although mindful of the teachings of Annibale Carracci, are characterized by the lyricism and the preciousness of painting typical of the artist and for this reason they were praised by the biographers of the eighteenth century. The series arrived in Turin in 1633, arousing considerable interest among contemporaries who dedicated literary compositions and interpretations to symbolic and political background. Initially it was placed at the Villa della Regina, then at the Valentino castle, in 1692 moved to the collections of Vittorio Amedeo II, finally flowing to the Sabauda by dynastic way.
Bologna : Palazzo Fava-Fregio ad affresco,il Mito di Europa ,di presentazione ,eseguito da Annibale ed Agostino Carracci -Come risposta alle esigenze artistiche della Riforma ( 1582.83 )
After Leonardo ,Michelangelo and Raffaello ,the aesthetic virtuosity of Mannerism ,the Reformation ,this is the first attempt to the bring back the art of organic standards simpler .
Dopo Leonardo ,Michelangelo e Raffaello ,il virtuosismo estetico del manierismo ,la Riforma ,questo é il primo tentativo organico per riportare l'arte su canoni più semplici .
Agostino Carracci (Bologna, August 16, 1557 - Parma, February 23, 1602) - Last Communion of St. Jerome (1592-97) - oil on canvas 376 × 224 cm - Galleria Nazionale di Bologna
Nell'opera tutte le esperienze di Agostino Carracci vengono riassunte in una perfetta armonia compositiva: l'immagine è descritta nei minimi particolari, delineando con precisione le forme e il volume delle figure grazie ad un disegno fortemente analitico, mentre l'influsso della pittura veneta è determinante nel colore.
Nel 1796 il quadro fu requisito dalle truppe napoleoniche ed inviato a Parigi. Dopo il Congresso di Vienna fu restituito allo Stato Pontificio, di cui anche Bologna era parte, e collocato, nel 1817, nella Pinacoteca della città.
In the work all the experiences of Agostino Carracci are summarized in a perfect harmony of composition: the image is described in detail, outlining with precision the shapes and the volume of the figures thanks to a highly analytical drawing, while the influence of Venetian painting is decisive in the color.
In 1796 the painting was requisitioned by Napoleon's troops and sent to Paris. After the Congress of Vienna it was returned to the Papal States, of which Bologna was also a part, and placed, in 1817, in the Pinacoteca of the city.
Guido Reni (Bologna, November 4, 1575-Bologna, August 18, 1642) - Beggars' Altarpiece - Jesus Christ in pity mourned by Our Lady and adored by Saints Petronius, Francis, Dominic, Proculus and Charles Borromeo. (1613-1616),- Oil on canvas 704 x 341 cm- National Gallery, Bologna
Ordinata all'artista dal Senato di Bologna, fu collocata sull'altare maggiore della chiesa di Santa Maria della Pietà il 13 novembre 1616.
L'opera, che rappresenta Gesù Cristo in pietà pianto dalla Madonna e adorato dai Santi Petronio, Francesco, Domenico, Procolo e Carlo Borromeo, propone un ordine compositivo alquanto antico e tipico delle sacre conversazioni cinquecentesche (Raffaello, Estasi di Santa Cecilia), mentre l'intimo patetismo religioso rimanda al maestro Ludovico Carracci
Ordered to the artist by the Senate of Bologna, it was placed on the high altar of the church of Santa Maria della Pietà on November 13, 1616.
The work proposes a somewhat ancient compositional order typical of sixteenth-century sacred conversations (Raphael, Ecstasy of Saint Cecilia), while the intimate religious patheticism harks back to the master Ludovico Carracci
La Galería Nacional de Parma (en italiano, Galleria Nazionale) es una pinacoteca que se encuentra en la Piazza della Pilotta 5 de Parma (Italia).
El museo expone obras de: Beato Angelico, Canaletto, Giambattista Pittoni, Leonardo da Vinci, Tintoretto, Correggio, Sebastiano del Piombo, Guercino, Parmigianino, etc.
La galería está situada en el Palacio de la Pelota que fue construido hacia el año 1583, durante los últimos años del ducado de Octavio Farnesio.
El edificio fue ampliado por voluntad del duque Ranuccio II Farnesio, fueron creados el Teatro, los establos, las habitaciones de los mozos de cuadra, el picadero, el almacén de carruajes, la Sala de la Academia y de las galerías que delimitaron los patios.
Las labores se iniciaron en 1602 sobre un proyecto del arquitecto Simone Moschino; se interrumpieron en el año 1611 dejando la construcción incompleta.
Los sucesores de Ranuccio se ocuparon sobre todo del interior del palacio donde fueron reunidas las colecciones artísticas de la familia.
En 1734, el rey de Nápoles Carlos de Borbón se llevó consigo la colección hasta el establecimiento en Parma de la corte de Felipe de Borbón.
El duque instituyó, en el interior del palacio, la Academia Ducal de Pintura, Escultura y Arquitectura en el año 1757 y, en 1769 la Biblioteca Palatina.
es.wikipedia.org/wiki/Galer%C3%ADa_Nacional_de_Parma
The Galleria nazionale di Parma is an art gallery in Parma, northern Italy.
Painters exhibited in the museum include Beato Angelico, Fra Angelico, Canaletto, Ludovico Carracci (The Funeral of the Virgin Mary), Agostino Carracci (Madonna and Child with Saints), Correggio, Leonardo da Vinci, Sebastiano del Piombo, Guercino (Susannah and the Elders), Parmigianino (Mystic Marriage of Saint Catherine), Tintoretto, and others.
The Parmesan collections were established in Renaissance times by the Farnese family, with Pope Paul III and Cardinal Alessandro Farnese.
In 1734, Charles III of Spain had most of the Farnese Collection moved to Naples. Some were kept thanks to the intervention of Philip, Duke of Parma.
Later, the remaining collection was increased with the addition of Greco-Roman discoveries, donations, and with the restitution of some of the works that had been taken to Naples, as well as, through new acquisitions under Duke Ferdinand (1758).
During the French occupation of Parma (1803–1814), the works were moved to Paris, returning in 1816. Duchess Marie Louise reordered the collections in the Palazzo della Pilotta and built the hall that now bears her name. She also acquired several noble collections in the duchy to avoid their dispersal.
Annibale Carracci (Bologna, November 3, 1560 - Rome, July 15, 1609) - Annunciation, The Archangel Gabriel (1588) - oil on canvas 152 x 76 cm - National Gallery of Bologna
Questo dipinto testimonia l'esperienza veneta vissuta da Annibale intorno al 1586-1587.
La materia densa e di notevole intensità cromatica si accompagna qui ad una poetica del naturale quotidiano che evolve verso una più diretta conoscenza dell'eredità rinascimentale.
This painting testifies to the Venetian experience lived by Annibale around 1586-1587.
The dense material and considerable chromatic intensity is accompanied here by a poetic of the natural everyday that evolves towards a more direct knowledge of the Renaissance heritage.
Rome :People Gate and St.Mary of People church
Italiano : Porta del Popolo
Fu per 1500 anni la principale entrata nord della città: Via Emilia,ViaFlaminia,Porta del Popolo ,questo l'asse viario da Piacenza a Roma . La via consolare Flaminia terminava in Piazza Flaminia che era collegata a Piazza del Popolo attraverso questa porta
English : Gate of People
It was the main north entrance or the city for 1500 yearsEmilia Way ,Flaminia Way ,Gate of People .This is the Way From Piacenza to Rome .The Flaminia Wayendedto Flaminia Square with was connected to Square of People through this Gate
Italiano :Chiesa di S.Maria del Popolo
Nata come cappella eretta da Papa Pasquale II nel 1099 come ringraziamento per la liberazione del S.Sepolcro e a spese del popolo Romano ( da cui il nome ) sul mausoleo dei Domizi dove era stato sepolto Nerone .Fu poi ingrandita nel 1227 da papa Gregorio IX.Passata nel 1250 agli Agostiniani della Tuscia e nel 1472 alla Congregazione Lombarda ,fu poi ricostruita nel 1475-77 secondo l'Architettura Sacra Lombarda . Non si sa il nome del progettista e tutti nomi più accreditati sono stati scartati .
Già nel 500' si ebbero le prime modifiche al coro absidato fatte dal Bramante e la costruzione della cappella Chigi su progetto di Raffaello .Le modifiche proseguirono nel 600' in chiave Barocca con l'aggiunta della cappella del transetto e la sostituzione dell'altare maggiore.La sovrapposizione in facciata e all'interno dell'apparato decorativo ( sotto la direzione del Bernini e per volere di papa Alessandro VII ( 1655-59 ) .Nel 1811-13 fu sacrificato il vasto
convento del 400' per sistemare Piazza del Popolo e il Pincio . Fu poi ricostruito dal Valadier .Nel coro del Bramante ci sono gli affreschi del Pinturicchio e il monumento funebre del Sansovino .Nel transetto sinistro di fianco c'è l'Assunzione di Anibale Carracci e ai lati conversione di S. Paolo e Crocifissione di S.Pietro del Caravaggio .
Cappella dei Chigi : Mausoleo di Famiglia su disegno di Raffaello !
English : St.Mary of People church
Founded as a chapel ,built a pope Pasquale II in 1099 as a thanksgiving for the liberation of the Holy Sepulcher and at expense of the Roman People .(henee the name ) .Built in the Domizi
Mausoleum where Nero was buried . It was enlarged in 1227 by Gregory IX ,passed in 1250 to the Agostinian of Tuscia and in 1472 to the Lombard Congregation it was then rebuilt in 1475-77 according to the Lombard religious Architecture . We do not know the named of the designer and all the name accredited have been discarded .
Already in 500' the first changes were made to the apse choir by Bramante and the construction of the Chigi chapel on a project by Raphael . The changes continued in the 17th century
in Baroque style with the addition on the transept chapel and the replacement of the altar greater .The overlap on the facade and inside the decorative apparatus ,under the direction of Bernini and at the behest of pope . Alexander VII Chigi ( 1655-59 )
and the addition of the Cabo chapel by Carlo Fontana .In 1811-13 it was sacrificed in the restructuring of the square and the Pincio ,the vast fifteenth- century convent ,then rebuittby Valadier : in the choir of Bramante the frescoes of Pinturicchio
and funeral monument of Sansovino .
In the side chapel is the painting of the Assunta by Annibale Carracci and on
the sides is the crucifixion of S.Peter and the conversion of S.Paul by Caravaggio .Chapel of Chigi family : mausoleum designed by Raphael .
La Galería Nacional de Parma (en italiano, Galleria Nazionale) es una pinacoteca que se encuentra en la Piazza della Pilotta 5 de Parma (Italia).
El museo expone obras de: Beato Angelico, Canaletto, Giambattista Pittoni, Leonardo da Vinci, Tintoretto, Correggio, Sebastiano del Piombo, Guercino, Parmigianino, etc.
La galería está situada en el Palacio de la Pelota que fue construido hacia el año 1583, durante los últimos años del ducado de Octavio Farnesio.
El edificio fue ampliado por voluntad del duque Ranuccio II Farnesio, fueron creados el Teatro, los establos, las habitaciones de los mozos de cuadra, el picadero, el almacén de carruajes, la Sala de la Academia y de las galerías que delimitaron los patios.
Las labores se iniciaron en 1602 sobre un proyecto del arquitecto Simone Moschino; se interrumpieron en el año 1611 dejando la construcción incompleta.
Los sucesores de Ranuccio se ocuparon sobre todo del interior del palacio donde fueron reunidas las colecciones artísticas de la familia.
En 1734, el rey de Nápoles Carlos de Borbón se llevó consigo la colección hasta el establecimiento en Parma de la corte de Felipe de Borbón.
El duque instituyó, en el interior del palacio, la Academia Ducal de Pintura, Escultura y Arquitectura en el año 1757 y, en 1769 la Biblioteca Palatina.
es.wikipedia.org/wiki/Galer%C3%ADa_Nacional_de_Parma
The Galleria nazionale di Parma is an art gallery in Parma, northern Italy.
Painters exhibited in the museum include Beato Angelico, Fra Angelico, Canaletto, Ludovico Carracci (The Funeral of the Virgin Mary), Agostino Carracci (Madonna and Child with Saints), Correggio, Leonardo da Vinci, Sebastiano del Piombo, Guercino (Susannah and the Elders), Parmigianino (Mystic Marriage of Saint Catherine), Tintoretto, and others.
The Parmesan collections were established in Renaissance times by the Farnese family, with Pope Paul III and Cardinal Alessandro Farnese.
In 1734, Charles III of Spain had most of the Farnese Collection moved to Naples. Some were kept thanks to the intervention of Philip, Duke of Parma.
Later, the remaining collection was increased with the addition of Greco-Roman discoveries, donations, and with the restitution of some of the works that had been taken to Naples, as well as, through new acquisitions under Duke Ferdinand (1758).
During the French occupation of Parma (1803–1814), the works were moved to Paris, returning in 1816. Duchess Marie Louise reordered the collections in the Palazzo della Pilotta and built the hall that now bears her name. She also acquired several noble collections in the duchy to avoid their dispersal.
La Galería Nacional de Parma (en italiano, Galleria Nazionale) es una pinacoteca que se encuentra en la Piazza della Pilotta 5 de Parma (Italia).
El museo expone obras de: Beato Angelico, Canaletto, Giambattista Pittoni, Leonardo da Vinci, Tintoretto, Correggio, Sebastiano del Piombo, Guercino, Parmigianino, etc.
La galería está situada en el Palacio de la Pelota que fue construido hacia el año 1583, durante los últimos años del ducado de Octavio Farnesio.
El edificio fue ampliado por voluntad del duque Ranuccio II Farnesio, fueron creados el Teatro, los establos, las habitaciones de los mozos de cuadra, el picadero, el almacén de carruajes, la Sala de la Academia y de las galerías que delimitaron los patios.
Las labores se iniciaron en 1602 sobre un proyecto del arquitecto Simone Moschino; se interrumpieron en el año 1611 dejando la construcción incompleta.
Los sucesores de Ranuccio se ocuparon sobre todo del interior del palacio donde fueron reunidas las colecciones artísticas de la familia.
En 1734, el rey de Nápoles Carlos de Borbón se llevó consigo la colección hasta el establecimiento en Parma de la corte de Felipe de Borbón.
El duque instituyó, en el interior del palacio, la Academia Ducal de Pintura, Escultura y Arquitectura en el año 1757 y, en 1769 la Biblioteca Palatina.
es.wikipedia.org/wiki/Galer%C3%ADa_Nacional_de_Parma
The Galleria nazionale di Parma is an art gallery in Parma, northern Italy.
Painters exhibited in the museum include Beato Angelico, Fra Angelico, Canaletto, Ludovico Carracci (The Funeral of the Virgin Mary), Agostino Carracci (Madonna and Child with Saints), Correggio, Leonardo da Vinci, Sebastiano del Piombo, Guercino (Susannah and the Elders), Parmigianino (Mystic Marriage of Saint Catherine), Tintoretto, and others.
The Parmesan collections were established in Renaissance times by the Farnese family, with Pope Paul III and Cardinal Alessandro Farnese.
In 1734, Charles III of Spain had most of the Farnese Collection moved to Naples. Some were kept thanks to the intervention of Philip, Duke of Parma.
Later, the remaining collection was increased with the addition of Greco-Roman discoveries, donations, and with the restitution of some of the works that had been taken to Naples, as well as, through new acquisitions under Duke Ferdinand (1758).
During the French occupation of Parma (1803–1814), the works were moved to Paris, returning in 1816. Duchess Marie Louise reordered the collections in the Palazzo della Pilotta and built the hall that now bears her name. She also acquired several noble collections in the duchy to avoid their dispersal.
Agostino Carracci (Bologna, August 16, 1557 - Parma, February 23, 1602) - Assumption of the Virgin (1592-93) - oil on canvas 349 × 209 cm - Galleria Nazionale di Bologna
Oggetto di una lunga controversia ereditaria, il dipinto, databile tra il 1592 e il 1593, raggiunse la chiesa di San Salvatore solo intorno al 1622.
Agostino dimostra qui di accostarsi alla cultura veneta, sulla linea Tiziano-Veronese, nella ricerca degli effetti di fusione atmosferica e nell'accentuato interesse per il colore ma, soprattutto nella figura figura della Vergine, emerge anche il rapporto diretto con la Assunzione di Annibale Carracci (1592).
The subject of a long inheritance dispute, the painting, datable to between 1592 and 1593, reached the church of San Salvatore only around 1622.
Agostino shows here that he approaches the Venetian culture, on the Titian-Veronese line, in the research of the atmospheric fusion effects and in the accentuated interest for the color but, above all in the figure of the Virgin, it emerges also the direct relationship with the Assumption of Annibale Carracci (1592).
The Conversion on the Way to Damascus is a work by Caravaggio, painted in 1601 for the Cerasi Chapel of the church of Santa Maria del Popolo, in Rome. Across the chapel is a second Caravaggio depicting the Crucifixion of Saint Peter. On the altar between the two is the Assumption of the Virgin Mary by Annibale Carracci.
The two lateral paintings of the Cerasi Chapel were commissioned in September 1600 by Monsignor Tiberio Cerasi, Treasurer-General to Pope Clement VIII who purchased the chapel from the Augustinian friars on 8 July 1600 and entrusted Carlo Maderno to rebuild the small edifice in Baroque style. The contract for the altarpiece with Carracci has not been preserved but it is generally assumed that the document had been signed somewhat earlier, and Caravaggio had to take into consideration the other artist's work and the overall iconographic programme of the chapel.
Although much has been said about the supposed rivalry between the painters, there is no historical evidence about any serious tensions. Both were successful and sought-after artists in Rome. Caravaggio gained the Cerasi commission right after his celebrated works in the Contarelli Chapel had been finished, and Carracci was busy creating his great fresco cycle in the Palazzo Farnese. In these circumstances there was little reason for them to regard each other as business rivals, states Denis Mahon.
The contract signed on 24 September 1600 stipulates that "the distinguished painter, Michelangelo Merisi da Caravaggio" will paint two large cypress panels, ten palms high and eight palms wide, representing the conversion of Saint Paul and the martyrdom of Saint Peter within eight months for the price of 400 scudi. The contract gave a free hand to the painter to choose the figures, persons and ornaments depicted in the way as he saw fit, "to the satisfaction however of his Lordship", and he was also obliged to submit preparatory studies before the execution of the paintings. Caravaggio received 50 scudi as advance payment from the banker Vincenzo Giustiniani with the rest earmarked to be paid on completion. The dimensions specified for the panels are virtually the same as the size of the existing canvasses.
When Tiberio Cerasi died on 3 May 1601 Caravaggio was still working on the paintings as attested by an avviso dated 5 May mentioned that the chapel was being decorated by the hand of the "famosissimo Pittore", Michelangelo da Caravaggio. A second avviso dated 2 June proves that Caravaggio was still at work on the paintings a month later. He completed them sometime before 10 November when he received the final instalment from the heirs of Tiberio Cerasi, the Fathers of the Ospedale della Consolazione. The total compensation for the paintings was reduced to 300 scudi for unknown reasons.
The paintings were finally installed in the chapel on 1 May 1605 by the woodworker Bartolomeo who received four scudi and fifty baiocchi from the Ospedale for his work.
Annibale Carracci (Bologna, November 3, 1560 - Rome, July 15, 1609) - preparatory drawing of the Triumph of Bacchus and Ariadne (1599-1600) - Galleria Nazionale delle Marche, Palazzo Ducale di Urbino
Il disegno, applicato su tela, è il cartone preparatorio per la parte destra della volta della Galleria Farnese. Il ciclo decorativo della Galleria, per il quale Annibale Carracci eseguì numerosi disegni preparatori (alcuni dei quali al Louvre).
The drawing, applied on canvas, is the preparatory cartoon for the right side of the vault of the Galleria Farnese. The decorative cycle of the Gallery, for which Annibale Carracci made numerous preparatory drawings (some of which are in the Louvre).
Agostino Carracci (Bologna, August 16, 1557 - Parma, February 23, 1602) - Assumption of the Virgin (1592-93) - oil on canvas 349 × 209 cm - Galleria Nazionale di Bologna
Oggetto di una lunga controversia ereditaria, il dipinto, databile tra il 1592 e il 1593, raggiunse la chiesa di San Salvatore solo intorno al 1622.
Agostino dimostra qui di accostarsi alla cultura veneta, sulla linea Tiziano-Veronese, nella ricerca degli effetti di fusione atmosferica e nell'accentuato interesse per il colore ma, soprattutto nella figura figura della Vergine, emerge anche il rapporto diretto con la Assunzione di Annibale Carracci (1592).
The subject of a long inheritance dispute, the painting, datable to between 1592 and 1593, reached the church of San Salvatore only around 1622.
Agostino shows here that he approaches the Venetian culture, on the Titian-Veronese line, in the research of the atmospheric fusion effects and in the accentuated interest for the color but, above all in the figure of the Virgin, it emerges also the direct relationship with the Assumption of Annibale Carracci (1592).
Cerasi Chapel - Basilica of Santa Maria del Popolo - in the center is the Assumption of the Virgin Mary by Carracci; on the left is Conversion of Saint Paul by Caravaggio and on the right is Crucifixion of St. Peter also painted by Caravaggio
Francesco Albani (Bologna, August 17, 1578 - Bologna, October 4, 1660) - Four Elements - water (1625-28.) - oil on canvas - Galleria Sabauda, Turin
Albani realizzò l serie dei quattro elementi fra il 1628 e il 1628 su commissione del Cardinale Maurizio di Savoia. Egli desunse i temi iconografici dalle immagini di Filostrato, in linea con il gusto classicista e l'erudizione letteraria della borghesia romana del tempo. I quattro tondi, per quanto memori dell'insegnamento di Annibale Carracci, si caratterizzano per il lirismo e la preziosità pittorica tipica dell'artista e per questo furono lodati dai biografi del XVIII scolo. La serie giunse a Torino nel 1633, suscitando notevole interesse presso i contemporanei che le dedicarono composizioni letterarie e interpretazioni a sfondo simbolico e politico. Inizialmente venne collocata a Villa della Regina, poi al castello del Valentino, nel 1692 spostata nelle raccolte di Vittorio Amedeo II, confluendo infine alla Sabauda per via dinastica.
Albani created the Four Elements series between 1628 and 1628 on commission from Cardinal Maurizio of Savoy. He drew the iconographic themes from the images of Philostratus, in line with the classicist taste and literary erudition of the Roman bourgeoisie of the time. The four tondi, although mindful of the teachings of Annibale Carracci, are characterized by the lyricism and the preciousness of painting typical of the artist and for this reason they were praised by the biographers of the eighteenth century. The series arrived in Turin in 1633, arousing considerable interest among contemporaries who dedicated literary compositions and interpretations to symbolic and political background. Initially it was placed at the Villa della Regina, then at the Valentino castle, in 1692 moved to the collections of Vittorio Amedeo II, finally flowing to the Sabauda by dynastic way.
Annibale Carracci (Bologna, November 3, 1560 - Rome, July 15, 1609) - Triumph of Bacchus and Ariadne (1597-1600) - fresco of the vault of the Galleria Farnese - Palazzo Farnese (French Embassy), Rome
immagine scaricata dal sito dell'ambasciata di Francia
image downloaded from the website of the French Embassy
L’affresco, commissionato dal cardinale Odoardo Farnese, è la parte centrale della volta della Galleria Farnese a Roma, dipinta fra il 1597 e il 1600. Diversamente da altre scene, il Trionfo non è un quadro riportato ma è inquadrato da una finta cornice architettonica che simula lo sfondamento del soffitto verso lo spazio esterno. Il corteo nuziale irrompe con una gioiosa danza che coinvolge Polifemo e Galatea, Paride e Mercurio, Diana e Pan in un tripudio manierista di colori e panneggi.
L’immagine procede da sinistra verso destra: Bacco, dio del vino, con la testa cinta d’edera e il tirso in mano, avanza su un cocchio dorato trainato da tigri; al suo fianco Arianna indossa una veste turchese che le lascia scoperte le spalle mentre un puttino le porge una corona di stelle, ad evocare il diadema che Bacco lanciò in cielo e trasformò in costellazione.
Al corteo partecipano eroti, menadi, satiri danzanti con strumenti musicali, stoviglie, ceste colme di cibarie e Sileno ebbro sorretto su un asino. Lo spazio vuoto al centro contribuisce a dare respiro alla composizione.
The fresco, commissioned by Cardinal Odoardo Farnese, is the central part of the vault of the Galleria Farnese in Rome, painted between 1597 and 1600. Unlike other scenes, the Triumph is not a reported painting but is framed by a false architectural frame that simulates the breakthrough of the ceiling to outer space. The nuptial procession bursts in with a joyful dance involving Polyphemus and Galatea, Paris and Mercury, Diana and Pan in a Mannerist jubilation of colors and drapery.
The image proceeds from left to right: Bacchus, god of wine, with his head girded with ivy and the tyrus in his hand, advances on a golden chariot pulled by tigers; by his side Ariadne wears a turquoise dress that leaves her shoulders uncovered while a cherub holds out a crown of stars, evoking the diadem that Bacchus threw into the sky and transformed into a constellation.
Participating in the procession are erots, maenads, dancing satyrs with musical instruments, crockery, baskets full of food and intoxicated Silenus supported on a donkey. The empty space in the center helps to give breath to the composition.
Annibale Carracci (Bologna, November 3, 1560 - Rome, July 15, 1609) - Annunciation, Mary Announced by the Archangel Gabriel (1588) - oil on canvas 152 x 76 cm - National Gallery of Bologna
Questo dipinto testimonia l'esperienza veneta vissuta da Annibale intorno al 1586-1587.
La materia densa e di notevole intensità cromatica si accompagna qui ad una poetica del naturale quotidiano che evolve verso una più diretta conoscenza dell'eredità rinascimentale.
This painting testifies to the Venetian experience lived by Annibale around 1586-1587.
The dense material and considerable chromatic intensity is accompanied here by a poetic of the natural everyday that evolves towards a more direct knowledge of the Renaissance heritage.
Variation of a text-prompt generation in AI Deep Dream. The text contained the words GIGER, FRAZETTA and FANTASY BIRD.
The option of Text Prompt is a new feature on Deep Dream.
Prints available:
otto-rapp.pixels.com/featured/avatar-vulture-fantasy-otto...
mixing one prompt I used previously with the result image from another at 50%
PROMPT:
Fantasy Hybrid Creature Bird Human, by Annibale Carracci, by Frank Frazetta, by Frida Kahlo, by H.R. Giger, by Karol Bak, Canvas, Tibetan Painting, Acrylic Paint, Warm Color Palette, Colorful, extremely detailed, imperial colors
Recreación del momento, según la tradición, del encuentro de Jesucristo con San Pedro. Mezclando una de mis fotos del arranque de la Via Apia en Roma (Nov. 2018) con los personajes de la obra de Annibale Carracci "Domine, quo vadis" (1.602). (Versión I)
La Galería Nacional de Parma (en italiano, Galleria Nazionale) es una pinacoteca que se encuentra en la Piazza della Pilotta 5 de Parma (Italia).
El museo expone obras de: Beato Angelico, Canaletto, Giambattista Pittoni, Leonardo da Vinci, Tintoretto, Correggio, Sebastiano del Piombo, Guercino, Parmigianino, etc.
La galería está situada en el Palacio de la Pelota que fue construido hacia el año 1583, durante los últimos años del ducado de Octavio Farnesio.
El edificio fue ampliado por voluntad del duque Ranuccio II Farnesio, fueron creados el Teatro, los establos, las habitaciones de los mozos de cuadra, el picadero, el almacén de carruajes, la Sala de la Academia y de las galerías que delimitaron los patios.
Las labores se iniciaron en 1602 sobre un proyecto del arquitecto Simone Moschino; se interrumpieron en el año 1611 dejando la construcción incompleta.
Los sucesores de Ranuccio se ocuparon sobre todo del interior del palacio donde fueron reunidas las colecciones artísticas de la familia.
En 1734, el rey de Nápoles Carlos de Borbón se llevó consigo la colección hasta el establecimiento en Parma de la corte de Felipe de Borbón.
El duque instituyó, en el interior del palacio, la Academia Ducal de Pintura, Escultura y Arquitectura en el año 1757 y, en 1769 la Biblioteca Palatina.
es.wikipedia.org/wiki/Galer%C3%ADa_Nacional_de_Parma
The Galleria nazionale di Parma is an art gallery in Parma, northern Italy.
Painters exhibited in the museum include Beato Angelico, Fra Angelico, Canaletto, Ludovico Carracci (The Funeral of the Virgin Mary), Agostino Carracci (Madonna and Child with Saints), Correggio, Leonardo da Vinci, Sebastiano del Piombo, Guercino (Susannah and the Elders), Parmigianino (Mystic Marriage of Saint Catherine), Tintoretto, and others.
The Parmesan collections were established in Renaissance times by the Farnese family, with Pope Paul III and Cardinal Alessandro Farnese.
In 1734, Charles III of Spain had most of the Farnese Collection moved to Naples. Some were kept thanks to the intervention of Philip, Duke of Parma.
Later, the remaining collection was increased with the addition of Greco-Roman discoveries, donations, and with the restitution of some of the works that had been taken to Naples, as well as, through new acquisitions under Duke Ferdinand (1758).
During the French occupation of Parma (1803–1814), the works were moved to Paris, returning in 1816. Duchess Marie Louise reordered the collections in the Palazzo della Pilotta and built the hall that now bears her name. She also acquired several noble collections in the duchy to avoid their dispersal.
La Galería Nacional de Parma (en italiano, Galleria Nazionale) es una pinacoteca que se encuentra en la Piazza della Pilotta 5 de Parma (Italia).
El museo expone obras de: Beato Angelico, Canaletto, Giambattista Pittoni, Leonardo da Vinci, Tintoretto, Correggio, Sebastiano del Piombo, Guercino, Parmigianino, etc.
La galería está situada en el Palacio de la Pelota que fue construido hacia el año 1583, durante los últimos años del ducado de Octavio Farnesio.
El edificio fue ampliado por voluntad del duque Ranuccio II Farnesio, fueron creados el Teatro, los establos, las habitaciones de los mozos de cuadra, el picadero, el almacén de carruajes, la Sala de la Academia y de las galerías que delimitaron los patios.
Las labores se iniciaron en 1602 sobre un proyecto del arquitecto Simone Moschino; se interrumpieron en el año 1611 dejando la construcción incompleta.
Los sucesores de Ranuccio se ocuparon sobre todo del interior del palacio donde fueron reunidas las colecciones artísticas de la familia.
En 1734, el rey de Nápoles Carlos de Borbón se llevó consigo la colección hasta el establecimiento en Parma de la corte de Felipe de Borbón.
El duque instituyó, en el interior del palacio, la Academia Ducal de Pintura, Escultura y Arquitectura en el año 1757 y, en 1769 la Biblioteca Palatina.
es.wikipedia.org/wiki/Galer%C3%ADa_Nacional_de_Parma
The Galleria nazionale di Parma is an art gallery in Parma, northern Italy.
Painters exhibited in the museum include Beato Angelico, Fra Angelico, Canaletto, Ludovico Carracci (The Funeral of the Virgin Mary), Agostino Carracci (Madonna and Child with Saints), Correggio, Leonardo da Vinci, Sebastiano del Piombo, Guercino (Susannah and the Elders), Parmigianino (Mystic Marriage of Saint Catherine), Tintoretto, and others.
The Parmesan collections were established in Renaissance times by the Farnese family, with Pope Paul III and Cardinal Alessandro Farnese.
In 1734, Charles III of Spain had most of the Farnese Collection moved to Naples. Some were kept thanks to the intervention of Philip, Duke of Parma.
Later, the remaining collection was increased with the addition of Greco-Roman discoveries, donations, and with the restitution of some of the works that had been taken to Naples, as well as, through new acquisitions under Duke Ferdinand (1758).
During the French occupation of Parma (1803–1814), the works were moved to Paris, returning in 1816. Duchess Marie Louise reordered the collections in the Palazzo della Pilotta and built the hall that now bears her name. She also acquired several noble collections in the duchy to avoid their dispersal.
Sebastiano Ricci (Belluno, July 1659 - Venice, May 15, 1734) - Birth of the Baptist (1695 circa) - oil on canvas 314 x 178- Galleria Nazionale Bologna
Proveniente dall’oratorio della Compagnia di San Giovanni dei Fiorentini, detta anche di San Giovanni Decollato, la tela è da riferirsi all’attività giovanile del pittore veneto, come mostrano l’affondo delle ombre e le suggestioni dalla tradizione carraccesca; oltre all’influenza dell’arte bolognese, le forme vigorose ed espanse mostrano l’influsso dei modelli del barocco romano e di Luca Giordano. Lontana dalla luminosità neoveronesiana già adottata a queste date dal Ricci nella grande decorazione, quest’opera è caratterizzata da forti contrasti e ombre profonde
Coming from the oratory of the Company of St. John of the Florentines, also known as St. John Decollate, the canvas is to be referred to the youthful activity of the Venetian painter, as shown by the deepening of the shadows and the suggestions from the tradition of Carracci; in addition to the influence of Bolognese art, the vigorous and expanded forms show the influence of the models of the Roman Baroque and Luca Giordano. Far from the neo-overtonesque luminosity already adopted at these dates by Ricci in the great decoration, this work is characterized by strong contrasts and deep shadows.
Guido Reni (Bologna, November 4, 1575 - Bologna, August 18, 1642) - Portrait of his mother (1615-1620),- Oil on canvas 65 x 55 cm- National Gallery, Bologna
Fu uno dei più grandi pittori del ‘600, figlio del musicista Daniele. Seguì inizialmente le orme paterne, ma lasciò gli studi musicali preferendo la pittura di cui imparò i primi rudimenti nella bottega del fiammingo Denijs Calvaert, con cui studiavano anche Albani e Domenichino. Fu tra i primi a entrare nell’Accademia dei Carracci, già nel 1582, quando era ancora la semplice Accademia del Naturale. Nel 1598 è già un pittore affermato: in quell’anno realizzò l’Incoronazione della Vergine e santi per la chiesa di San Bernardo (Bologna, Pinacoteca Nazionale) e vinse la gara per gli affreschi allegorici in onore della venuta di Clemente VIII sulla facciata del Palazzo del Reggimento, l’odierno palazzo comunale, già perduti nell’800.
Nel 1601 giunse a Roma, dove imparò a coniugare il classicismo emiliano con le nuove idee caravaggesche, dipingendo diversi capolavori: il Martirio di santa Cecilia (Basilica di Santa Cecilia in Trastevere), la Crocifissione di san Pietro per l’Abbazia delle Tre Fontane (Pinacoteca Vaticana), il Martirio di sant’Andrea e Eterno in gloria (San Gregorio al Celio), la decorazione della Sala delle Nozze Aldobrandine e della Sala delle Dame del Palazzo Apostolico Vaticano, quella per la Cappella Paolina in Santa Maria Maggiore. Dal 1610 continuò ad alternare soggiorni a Bologna, Roma e Napoli, dipingendo opere di grande importanza per la storia dell’arte come la Strage degli innocenti e il Sansone (Bologna, Pinacoteca Nazionale); l’affresco dell’Aurora per il Casino Rospigliosi Pallavicini, al tempo di proprietà di Scipione Borghese (Roma); l’Atalanta e Ippomene (Napoli, Museo di Capodimonte).
was one of the greatest painters of the '600, son of the musician Daniele. Initially followed in his father's footsteps, but left the musical studies preferring the painting of which he learned the first rudiments in the workshop of the Flemish Denijs Calvaert, with whom they studied Albani and Domenichino. He was among the first to enter the Academy of Carracci, already in 1582, when it was still the simple Academy of Natural. In 1598 he was already an established painter: in that year he painted the Coronation of the Virgin and Saints for the church of San Bernardo (Bologna, Pinacoteca Nazionale) and won the competition for the allegorical frescoes in honor of the coming of Clement VIII on the facade of the Palazzo del Reggimento, today's City Hall, already lost in 800.
In 1601 he arrived in Rome, where he learned to combine the classicism of Emilia with the new ideas of Caravaggio, painting several masterpieces: the Martyrdom of St. Cecilia (Basilica of Santa Cecilia in Trastevere), the Crucifixion of St. Peter for the Abbey of the Three Fountains (Pinacoteca Vaticana), the Martyrdom of St. Andrew and Eternal in Glory (San Gregorio al Celio), the decoration of the Hall of the Wedding Aldobrandine and the Hall of the Ladies of the Vatican Apostolic Palace, that for the Pauline Chapel in Santa Maria Maggiore. From 1610 he continued to alternate stays in Bologna, Rome and Naples, painting works of great importance for the history of art as the Massacre of the Innocents and Samson (Bologna, Pinacoteca Nazionale); the fresco of Aurora for the Casino Rospigliosi Pallavicini, at the time owned by Scipione Borghese (Rome); the Atalanta and Ippomene (Naples, Museo di Capodimonte).
This astonishing painting belongs to Alessandro Tanari,papal treasurer of Bologna.At the time of his death he owned eleven works by Ludovico Carracci.This canvas is a landmark of the Carracci form of painting.The figure of Christ,based on a posed,has been painted with a directness and lack of idealization that sixteenth century critics found shocking.The figures of the Virgin, three Maries,and Saint John are notably stylized by comparison with Christ.Experimentation with the means of representation rather than an abstract sense of harmony and beauty characterizes Ludovico's early work.
www.facebook.com/CleanRome/?fref=nf
Campagna di sensibilizzazione per la salvaguardia del patrimonio artistico di Roma, senza scopo di lucro
Awareness campaign for the preservation of the artistic heritage of Rome
#PalazzoFarnese, uno dei più alti esempi di architettura civile rinascimentale, fu progettato da #AntoniodaSangallo il Giovane per incarico del cardinale #AlessandroFarnese, futuro #PapaPaoloIII. I lavori, iniziati nel 1514, si interruppero per il #saccodiRoma nel 1527 e furono ripresi nel 1541, dopo l'ascesa al papato del cardinal Farnese. Dopo la morte del Sangallo nel 1546, i lavori proseguirono sotto la direzione di #Michelangelo a cui sembra si debba il progetto del cornicione che delimita superiormente la facciata, il balcone sopra il portale centrale con il grande stemma Farnese e il completamento di gran parte del cortile interno. Nella celebre Galleria del piano nobile affrescata tra il 1597 e il 1607 dai fratelli Agostino e #AnnibaleCarracci, #GiacomoPuccini ambientò il secondo atto dell'opera #Tosca. Dopo vari passaggi di proprietà, è stato acquistato dallo Stato Italiano ma, dal 1936, è concesso per un periodo di 99 anni al governo francese come sede della propria ambasciata in Italia a seguito di un accordo che prevedeva la concessione allo Stato Italiano, alle stesse condizioni, dell'Hôtel de La Rochefoucauld-Doudeauville, attuale sede dell'ambasciata d'Italia a Parigi.
Palazzo Farnese, one of the finest examples of the Renaissance civil architecture, was designed by Antonio da Sangallo the Younger on behalf of Cardinal Alessandro Farnese, the future Pope Paul III. Work began in 1514 but was interrupted by the sack of Rome in 1527 and resumed in 1541, after the rise to the papacy of Cardinal Farnese. After the death of Sangallo in 1546, work continued under the direction of Michelangelo who seems to have designed the upper ledge that borders the façade, the balcony above the main entrance with large Farnese coat of arms and the completion of the internal courtyard. In the famous hall of the main floor frescoed between 1597 and 1607 by Agostino and Annibale Carracci brothers, Giacomo Puccini setting for the second act of the opera Tosca. After several changes of ownership, it was purchased by the Italian State but, since 1936, is granted for a period of 99 years to the French Government as the seat of its embassy in Italy. This is the result of an agreement that provided for the grant to the Italian State under the same conditions, the Hôtel de La Rochefoucauld-Doudeauville, current Italian Embassy in Paris.
Testo di Alessandro Loschiavo
Ludovico Carracci (Bologna, April 21, 1555 - Bologna, November 13, 1619) cousin of the brothers Agostino and Annibale Carracci - Annunciation (1584) - oil on canvas 182.5 x 221 cm - Galleria Nazionale di Bologna
Il dipinto venne commissionato dal segretario della Compagnia del Santissimo Sacramento per un piccolo ambiente collegato alla chiesa di San Giorgio in Poggiale, utilizzato per l’educazione dottrinale dei giovani, citato nei documenti come “stanza degli incontri”. Questa specifica destinazione spiega i caratteri di quest’opera, in cui al racconto evangelico si intreccia un preciso intento didattico.
Ludovico Carracci, uno dei protagonisti di quella riforma pittorica che a fine Cinquecento mise fine al sofisticato stile manierista, si dimostra così in sintonia con le indicazioni che il cardinale Gabriele Paleotti aveva raccolto nel suo “Discorso intorno alle immagini sacre e profane” del 1582: in linea con i dettami della Controriforma elaborati dopo il Concilio di Trento, raccomandava agli artisti di realizzare opere che fossero comprensibili a tutti.
Per questa pala d’altare, eseguita nel 1584, Ludovico utilizza una rigorosa prospettiva centrale, con le linee del pavimento a griglia in cotto e pietra grigia che convergono verso un unico punto di fuga, ricostruendo quella che poteva essere la stanza di una qualsiasi adolescente in una casa popolare di fine Cinquecento.
I modesti arredi sono quelli più diffusi nelle case bolognesi dell’epoca, come lo scarno armadietto a due ante che si intravede in fondo nella penombra, il letto sulla destra.
Maria, vestita con un accollato ed umile abito, ornato solamente dalla cintura, è impegnata nella lettura di un piccolo libro di preghiere, quando viene interrotta dall’angelo che le consegna un giglio.
Alle loro spalle una folata di vento apre la finestra, dalla quale entra la colomba dello Spirito Santo.
Qui il sacro non è più l'evento straordinario rappresentato nella pittura manierista, ma diviene esperienza tangibile e familiare, tanto vicina che sul fondo, oltre la finestra appare, sbiadita ma rassicurante, la città di Bologna con le sue due torri.
Significativo è anche il modo di rappresentare il racconto dei vangeli, con la Vergine e l’Angelo raffigurati come due umili fanciulli che sembrano appartenere allo stesso ceto sociale dei ragazzi che frequentano la stanza della Confraternita.
The painting was commissioned by the secretary of the Company of the Blessed Sacrament for a small room connected to the church of San Giorgio in Poggiale, used for the doctrinal education of young people, mentioned in documents as the "room of the meetings". This specific destination explains the characteristics of this work, in which the Gospel story is intertwined with a precise didactic intent.
Ludovico Carracci, one of the protagonists of the pictorial reform that at the end of the sixteenth century put an end to the sophisticated Mannerist style, thus proves to be in tune with the indications that Cardinal Gabriele Paleotti had gathered in his "Discorso intorno alle immagini sacre e profane" of 1582: in line with the dictates of the Counter-Reformation elaborated after the Council of Trent, he recommended that artists create works that could be understood by everyone.
For this altarpiece, painted in 1584, Ludovico uses a rigorous central perspective, with the lines of the grid floor in terracotta and gray stone converging toward a single vanishing point, reconstructing what could have been the room of any teenager in a late sixteenth-century council house.
The modest furnishings are those most common in the Bolognese homes of the time, such as the meager two-door cabinet that can be glimpsed in the background in the half-light, and the bed on the right.
Mary, dressed in a low-cut and humble dress, adorned only by a belt, is busy reading a small prayer book, when she is interrupted by the angel who gives her a lily.
Behind them a gust of wind opens the window, from which the dove of the Holy Spirit enters.
Here the sacred is no longer the extraordinary event represented in Mannerist painting, but becomes a tangible and familiar experience, so close that in the background, beyond the window, the city of Bologna with its two towers appears, faded but reassuring.
Significant is also the way to represent the story of the gospels, with the Virgin and the Angel depicted as two humble children who seem to belong to the same social class of the boys who attend the room of the Brotherhood.
built around 1560 for Anne de Montmorency, -- departament Oise.
-In "Conde Museum" in the Castle, stands a few of artistic masterpieces: Simonetta Vespucci by Piero di Cosimo 's, the three charites of Rafael or the famous miniatures of the Limbourg brothers. Like Rafael, Carracci, Poussin, Ingres), Italian primitives (Sassetta, Botticelli, Giotto and Maso di Banco, Titian, Reynolds, Watteau, Delacroix, etc..
Francesco Albani (Bologna, August 17, 1578 - Bologna, October 4, 1660) - Four Elements - water (1625-28.) - oil on canvas - Galleria Sabauda, Turin
Albani realizzò l serie dei quattro elementi fra il 1628 e il 1628 su commissione del Cardinale Maurizio di Savoia. Egli desunse i temi iconografici dalle immagini di Filostrato, in linea con il gusto classicista e l'erudizione letteraria della borghesia romana del tempo. I quattro tondi, per quanto memori dell'insegnamento di Annibale Carracci, si caratterizzano per il lirismo e la preziosità pittorica tipica dell'artista e per questo furono lodati dai biografi del XVIII scolo. La serie giunse a Torino nel 1633, suscitando notevole interesse presso i contemporanei che le dedicarono composizioni letterarie e interpretazioni a sfondo simbolico e politico. Inizialmente venne collocata a Villa della Regina, poi al castello del Valentino, nel 1692 spostata nelle raccolte di Vittorio Amedeo II, confluendo infine alla Sabauda per via dinastica.
Albani created the Four Elements series between 1628 and 1628 on commission from Cardinal Maurizio of Savoy. He drew the iconographic themes from the images of Philostratus, in line with the classicist taste and literary erudition of the Roman bourgeoisie of the time. The four tondi, although mindful of the teachings of Annibale Carracci, are characterized by the lyricism and the preciousness of painting typical of the artist and for this reason they were praised by the biographers of the eighteenth century. The series arrived in Turin in 1633, arousing considerable interest among contemporaries who dedicated literary compositions and interpretations to symbolic and political background. Initially it was placed at the Villa della Regina, then at the Valentino castle, in 1692 moved to the collections of Vittorio Amedeo II, finally flowing to the Sabauda by dynastic way.
Francesco Albani (Bologna, August 17, 1578 - Bologna, October 4, 1660) - Four Elements - water (1625-28.) - oil on canvas - Galleria Sabauda, Turin
Albani realizzò l serie dei quattro elementi fra il 1628 e il 1628 su commissione del Cardinale Maurizio di Savoia. Egli desunse i temi iconografici dalle immagini di Filostrato, in linea con il gusto classicista e l'erudizione letteraria della borghesia romana del tempo. I quattro tondi, per quanto memori dell'insegnamento di Annibale Carracci, si caratterizzano per il lirismo e la preziosità pittorica tipica dell'artista e per questo furono lodati dai biografi del XVIII scolo. La serie giunse a Torino nel 1633, suscitando notevole interesse presso i contemporanei che le dedicarono composizioni letterarie e interpretazioni a sfondo simbolico e politico. Inizialmente venne collocata a Villa della Regina, poi al castello del Valentino, nel 1692 spostata nelle raccolte di Vittorio Amedeo II, confluendo infine alla Sabauda per via dinastica.
Albani created the Four Elements series between 1628 and 1628 on commission from Cardinal Maurizio of Savoy. He drew the iconographic themes from the images of Philostratus, in line with the classicist taste and literary erudition of the Roman bourgeoisie of the time. The four tondi, although mindful of the teachings of Annibale Carracci, are characterized by the lyricism and the preciousness of painting typical of the artist and for this reason they were praised by the biographers of the eighteenth century. The series arrived in Turin in 1633, arousing considerable interest among contemporaries who dedicated literary compositions and interpretations to symbolic and political background. Initially it was placed at the Villa della Regina, then at the Valentino castle, in 1692 moved to the collections of Vittorio Amedeo II, finally flowing to the Sabauda by dynastic way.
Giovanni Battista Salvi da Sassoferrato (August 25, 1609 – August 8, 1685), also known as Giovanni Battista Salvi, was an Italian Baroque painter, known for his archaizing commitment to Raphael's style. He is often referred to only by the town of his birthplace (Sassoferrato), as was customary in his time, and for example seen with da Vinci and Caravaggio.
The details of Giovanni Battista Salvi's biography are very sparse. He was born in the small town of Sassoferrato in the Marche region of central Italy, half-way between Rome and Florence, east of Apennines.
Sassoferrato was apprenticed under his father, the painter Tarquinio Salvi; fragments of Tarquinio's work are still visible in the church of Saint Francis in Sassoferrato. The rest of Giovanni's training is undocumented but it is thought that he worked under the Bolognese Domenichino, a main apprentice of Annibale Carracci (c. 1580). Two other Carracci trainees Francesco Albani and Guido Reni also influenced Sassoferrato. In Francis Russell's view, Reni was as much Sassoferrato's mentor as Domenichino was his master. His paintings also show the influence of Albrecht Dürer, Guercino, and above all Raphael. He appears to also have been influenced by Pierre Mignard, whom he may have met in Rome in the 1630s.
Few public commissions by Sassoferrato exist, and, like Carlo Dolci he seems to have concentrated on producing multiple copies of various styles of devotional image for private patrons, a demand fuelled by the Counter-Reformation of the Catholic Church. Apart from his many smaller works, his paintings include some at the Benedictine convent of San Pietro in Perugia (1630) and the imposing altarpiece in Santa Sabina, Rome, portraying La Madonna del Rosario (1643). In 1683 Cardinal Chigi presented Sassoferrato's self-portrait to Cosimo III de' Medici.
Sassoferrato died in 1685. His will is dated June 29 of the same year.
Sassoferrato's work was held in high regard through to the mid-19th century. His paintings were sometimes believed to be contemporary with the School of Raphael. However, by the late 19th century, reaction against sweet devotional art work was reinforced in England by the critical commentary of John Ruskin.
The late 20th century saw a revival of interest in Italian Baroque archaizing painting with Guido Reni leading the way in generating a surge of auction interest also in Sassoferrato.
There are over three hundred works by Sassoferrato in public collections in 2006 throughout the world including almost all of his extant drawings in the British Royal Collection at Windsor Castle.
Sassoferrato was also active as a copyist and reproduced paintings by other masters. His copying style was highly free and individualistic and he rather modified the original compositions or their dimensions than slavishly copy.
Simon Vouet (Paris, January 9, 1590 - Paris, June 30, 1649) - Aeneas and his father fleeing Troy (1635) - oil on canvas 140.34 x 110.01 cm - SDMA San Diego Museum of Art
Fu uno dei maggiori esponenti del caravaggismo prima di ritornare in Francia nel 1627 dove fece evolvere il suo stile e contribuì all'introduzione del barocco italiano in Francia, in particolare quello di Paolo Veronese, del Tiziano e dei Carracci, adattandolo alle grandi decorazioni dell'epoca di Luigi XIII e di Richelieu. Fu nominato primo pittore del re, e lo stesso Luigi XIII gli commissionò ritratti, cartoni per le tappezzerie e pitture per i palazzi del Louvre, del Lussemburgo e per il Castello di Saint-Germain-en-Laye.
Il suo allievo più influente è stato Charles Le Brun, che ha realizzato tutte le decorazioni degli interni a Versailles e ha portato lo stile di Vouet alla corte di Luigi XIV di Francia.
Tra gli altri studenti di Vouet si ricordano Valentin de Boulogne (figura principale dei francesi "caravaggeschi"), Charles Alphonse du Fresnoy, Pierre Mignard, Eustache Le Sueur, Chaperon Nicolas, Claude Mellan e il fiammingo Abraham Willaerts.
He was one of the major exponents of Caravaggism before returning to France in 1627 where he evolved his style and contributed to the introduction of Italian Baroque into France, in particular that of Paolo Veronese, Titian and the Carraccis, adapting it to the great decorations of the time of Louis XIII and Richelieu. He was appointed first painter of the king, and Louis XIII himself commissioned portraits, cartoons for the tapestries and paintings for the palaces of the Louvre, Luxembourg and the Castle of Saint-Germain-en-Laye.
His most influential pupil was Charles Le Brun, who did all the interior decoration at Versailles and brought Vouet's style to the court of Louis XIV of France.
Vouet's other students included Valentin de Boulogne (a leading figure of the French "Caravaggesque" painters), Charles Alphonse du Fresnoy, Pierre Mignard, Eustache Le Sueur, Chaperon Nicolas, Claude Mellan, and the Flemish Abraham Willaerts.
Unicum new condominiums building site. Next to Via de Carracci/ Quartiere navile/ Bologna Centrale railway station.. Bologna 2014
Explored.
Annibale Carracci (Bologna, November 3, 1560 - Rome, July 15, 1609) - preparatory drawing of the Triumph of Bacchus and Ariadne (1599-1600) - Galleria Nazionale delle Marche, Palazzo Ducale di Urbino
Il disegno, applicato su tela, è il cartone preparatorio per la parte destra della volta della Galleria Farnese. Il ciclo decorativo della Galleria, per il quale Annibale Carracci eseguì numerosi disegni preparatori (alcuni dei quali al Louvre).
The drawing, applied on canvas, is the preparatory cartoon for the right side of the vault of the Galleria Farnese. The decorative cycle of the Gallery, for which Annibale Carracci made numerous preparatory drawings (some of which are in the Louvre).
La Galería Nacional de Parma (en italiano, Galleria Nazionale) es una pinacoteca que se encuentra en la Piazza della Pilotta 5 de Parma (Italia).
El museo expone obras de: Beato Angelico, Canaletto, Giambattista Pittoni, Leonardo da Vinci, Tintoretto, Correggio, Sebastiano del Piombo, Guercino, Parmigianino, etc.
La galería está situada en el Palacio de la Pelota que fue construido hacia el año 1583, durante los últimos años del ducado de Octavio Farnesio.
El edificio fue ampliado por voluntad del duque Ranuccio II Farnesio, fueron creados el Teatro, los establos, las habitaciones de los mozos de cuadra, el picadero, el almacén de carruajes, la Sala de la Academia y de las galerías que delimitaron los patios.
Las labores se iniciaron en 1602 sobre un proyecto del arquitecto Simone Moschino; se interrumpieron en el año 1611 dejando la construcción incompleta.
Los sucesores de Ranuccio se ocuparon sobre todo del interior del palacio donde fueron reunidas las colecciones artísticas de la familia.
En 1734, el rey de Nápoles Carlos de Borbón se llevó consigo la colección hasta el establecimiento en Parma de la corte de Felipe de Borbón.
El duque instituyó, en el interior del palacio, la Academia Ducal de Pintura, Escultura y Arquitectura en el año 1757 y, en 1769 la Biblioteca Palatina.
es.wikipedia.org/wiki/Galer%C3%ADa_Nacional_de_Parma
The Galleria nazionale di Parma is an art gallery in Parma, northern Italy.
Painters exhibited in the museum include Beato Angelico, Fra Angelico, Canaletto, Ludovico Carracci (The Funeral of the Virgin Mary), Agostino Carracci (Madonna and Child with Saints), Correggio, Leonardo da Vinci, Sebastiano del Piombo, Guercino (Susannah and the Elders), Parmigianino (Mystic Marriage of Saint Catherine), Tintoretto, and others.
The Parmesan collections were established in Renaissance times by the Farnese family, with Pope Paul III and Cardinal Alessandro Farnese.
In 1734, Charles III of Spain had most of the Farnese Collection moved to Naples. Some were kept thanks to the intervention of Philip, Duke of Parma.
Later, the remaining collection was increased with the addition of Greco-Roman discoveries, donations, and with the restitution of some of the works that had been taken to Naples, as well as, through new acquisitions under Duke Ferdinand (1758).
During the French occupation of Parma (1803–1814), the works were moved to Paris, returning in 1816. Duchess Marie Louise reordered the collections in the Palazzo della Pilotta and built the hall that now bears her name. She also acquired several noble collections in the duchy to avoid their dispersal.
Guido Reni (Bologna, November 4, 1575-Bologna, August 18, 1642) - Beggars' Altarpiece - Jesus Christ in pity mourned by Our Lady and adored by Saints Petronius, Francis, Dominic, Proculus and Charles Borromeo. (1613-1616),- Oil on canvas 704 x 341 cm- National Gallery, Bologna
Ordinata all'artista dal Senato di Bologna, fu collocata sull'altare maggiore della chiesa di Santa Maria della Pietà il 13 novembre 1616.
L'opera, che rappresenta Gesù Cristo in pietà pianto dalla Madonna e adorato dai Santi Petronio, Francesco, Domenico, Procolo e Carlo Borromeo, propone un ordine compositivo alquanto antico e tipico delle sacre conversazioni cinquecentesche (Raffaello, Estasi di Santa Cecilia), mentre l'intimo patetismo religioso rimanda al maestro Ludovico Carracci
Ordered to the artist by the Senate of Bologna, it was placed on the high altar of the church of Santa Maria della Pietà on November 13, 1616.
The work proposes a somewhat ancient compositional order typical of sixteenth-century sacred conversations (Raphael, Ecstasy of Saint Cecilia), while the intimate religious patheticism harks back to the master Ludovico Carracci
Interior de la catedral de la Asunción y Santa Justina de Piacenza (Italia). El interior desarrolla planta de cruz latina, con tres naves, divididas entre sí por veinticinco enormes pilares cilíndricos. El transepto también está dividido en tres naves. En el cruce hay un tiburio octogonal, decorado con frescos del siglo XVIII.
Algunos de los pilares fueron construidos a cargo de los gremios, las corporaciones de oficios, o de simples ciudadanos. Siete de estas presentan, como firma, relieves con la representación de la actividad de la asociación. También está escrito en latín el nombre del gremio, casi a modo de propietario del pilar: Haec est columna furnariorum. En algunos casos la firma informa del nombre de personas: Hugo pictor, magister Johannes, constructor, este último, de carros.
El interior está decorado con suntuosos frescos, realizados entre los siglos XIV y XVI por Camillo Procaccini y Ludovico Carracci. Los del siglo XVII que embellecen la cúpula son obra de Pier Francesco Mazzucchelli, llamado il Morazzone, y de Giovanni Francesco Barbieri, llamado il Guercino. La nave izquierda del presbiterio alberga un quiosco amadesco con candelabros, una escultura de madera de 1479, un coro de madera de Giangiacomo da Genova (1471) y estatuas de escuela lombarda del siglo XV.
Piacenza (Italia) 11/8/2017