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More Rome Aug 2011
Last day in Rome!
Palazzo Farnese is a High Renaissance palace in Rome, which currently houses the French embassy and the Ecole Française de Rome (the French Historical Roman Institute).
First designed in 1517 for the Farnese family, the palace building expanded in size and conception when Alessandro Farnese became Pope Paul III in 1534, to designs by Antonio da Sangallo the Younger, its building history involved some of the most prominent Italian architects of the 16th century, including Antonio da Sangallo the Younger, Michelangelo, Jacopo Barozzi da Vignola and Giacomo della Porta.
At the end of the 16th century, the important fresco cycle of The Loves of the Gods in the Farnese Gallery was carried out by the Bolognese painter Annibale Carracci, marking the beginning of two divergent trends in painting during the 17th century, the Roman High Baroque and Classicism. The famous Farnese sculpture collection, now in the National Archeological Museum of Naples, as well as other Farnese collections, now mostly in Capodimonte Museum in Naples, were accommodated in the palace.
Full title: The Holy Family with the Infant Saint John the Baptist
Artist: Annibale Carracci
Date made: about 1600
Source: www.nationalgalleryimages.co.uk/
Contact: picture.library@nationalgallery.co.uk
Copyright © The National Gallery, London
El año 1604 Carracci recibió el encargo del noble español Juan Enríquez Herrera, que desde 1602 era propietario de una capilla en la iglesia de San Giacomo degli Spagnoli, situada en la Piazza Navona, su espacio lo ocupa ahora la conocida como Nuestra Señora del Sagrado Corazón. Juan Enríquez Herrera había mandado construir su capilla al arquitecto Flaminio Ponzio, con labores de estuco del escultor lombardo Ambrogio Buonvicino.
La capilla Herrera -la primera de mano izquierda según fuentes de la época- estaba dedicada a San Diego de Alcalá, lego franciscano al que se le atribuían curaciones milagrosas, como la del infante don Carlos y el hijo de Herrera. Don Carlos, primogénito de Felipe II y Mª Manuela de Portugal, sobrevivió al nacer falleciendo su madre. De ahí surgió la devoción de Felipe II hacia San Diego de Alcalá, llevándola al punto de pedir al Papa Sixto V que lo canonizara. Éste lo hizo en 1588. O la curación del propio hijo de Herrera, quién en muestra de gratitud al santo, encargó a Annibale Carracci la decoración de la capilla con escenas de su vida.
En la capilla Herrera intervinieron junto a Annibale algunos colaboradores suyos: Francesco Albani, Giovanni Lanfranco y Sisto Badalocchio.
Los frescos conservados en el MNAC (los restantes se encuentra en el Museo del Prado) tendrían la siguiente disposición:
1.Dios Padre centraba la bóveda.
2.En los muros laterales de la capilla había dos grandes escenas rectangulares que trataban de la curación de un joven ciego y el milagro de las rosas. Sobre estas escenas, las lunetas con los temas predicación de san Diego y la aparición del santo encima de su sepulcro a peregrinos y enfermos respectivamente.
3.A los lados del altar, las representaciones de los apóstoles Pedro y Pablo.
4.En las paredes exteriores de la capilla, sobre el arco de ingreso a la misma, la Asunción de la Virgen y los apóstoles rodeando el sepulcro, en marcos separados.
Según diversas fuentes documentales, las pinturas de la capilla Herrera sufrieron ya una restauración a mediados del siglo XVIII, efectuada por Sebastiano Conca. Un siglo más tarde, la iglesia quedó totalmente abandonada y los frescos sufrieron pérdidas irrecuperables. La pérdida total de las pinturas se hubiera llevado a cabo si no fuera por la oportuna intervención de Antonio Solà, escultor catalán residente en Roma desde 1802 que tomó la iniciativa de encargar a los especialistas Pelegrino y Domenico Succi que, bajo su dirección, procedieran a arrancar los frescos trasladándolos a un soporte de tela, hacia 1842.
_____________________________________
Los expertos han detectado la diferencia que se establece entre los cartones y esbozos hechos a pluma y los detalles en yeso realizados por Annibale de la plasmación final al fresco. Se detecta la responsabilidad de Annibale en el proyecto y la interpretación en el fresco por parte de Albani, principalmente.
Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts
Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.
This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.
This exhibition is organized by the Minneapolis Institute of Arts.
Title: The Butcher's Shop
Artist: Annibale Carracci
Year: early 1580s
It is an oil on canvas.
The Kimbell Art Museum in Fort Worth, Texas, hosts a small but excellent art collection as well as traveling art exhibitions, educational programs and an extensive research library. Its initial artwork came from the private collection of Kay and Velma Kimbell, who also provided funds for a new building to house it.
The building was designed by renowned architect Louis I. Kahn and is widely recognized as one of the most significant works of architecture of recent times. It is especially noted for the wash of silvery natural light across its vaulted gallery ceilings.
Information from: en.wikipedia.org/wiki/Kimbell_Art_Museum
Full title: Christ appearing to Saint Peter on the Appian Way
Artist: Annibale Carracci
Date made: 1601-2
Source: www.nationalgalleryimages.co.uk/
Contact: picture.library@nationalgallery.co.uk
Copyright © The National Gallery, London
Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts
Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.
This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.
This exhibition is organized by the Minneapolis Institute of Arts.
Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts
Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.
This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.
This exhibition is organized by the Minneapolis Institute of Arts.
Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts
Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.
This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.
This exhibition is organized by the Minneapolis Institute of Arts.
Reggio Emilia - Basilica di San Prospero.
Wiki -"The Basilica of San Prospero is an ancient church in central Reggio Emilia, Italy.
A church at the site, known as San Prospero di Castello, located inside the city walls, is known prior to 997. The church and its adjacent bell tower underwent reconstructions. In 1514, the church which was in ruins, was demolished and a new design by Luca Corti and Matteo Florentino was erected by 1527. Minor chapels were added till 1543, when the basilica was reconsecrated. Major changes to the belltower were designed by Cristoforo Ricci and Giulio Romano in 1536-1570. The facade of the church had been left incomplete till it was completed in 1748-1753 using designs of Giovanni Battista Cattani. While the statues on the facade are contemporary with Cattani's design, on the dais in front of the church are placed six lions (1501), sculpted in rose-colored marble by Gaspare Bigi, and meant to be bases for columns of a portico that had been planned for the church front.
The interior has works of art by Giovanni Giarola, Michelangelo Anselmi, Denis Calvaert, Ludovico Carracci, and Tommaso Laureti. It has altarpieces by Alessandro Tiarini and Francesco Stringa. Sculptors whose work is in the church include Bartolomeo Spani (Tomb of Rufino Gabloneta (1527) over the entrance) and Prospero Spani (il Clemente), who sculpted a Madonna on the right transept. The presbytery has a picture cycle by Camillo Procaccini and Bernardino Campi. The apse is frescoed with a Last Judgment by Procaccini.
The Chapel of the Pratonero family in this church once held the painting by Correggio of the Nativity (La Notte) (1522), which now is found in the Dresden Gallery. In 1640, the painting was absconded from the chapel by the Dukes of Modena for their private collection, a sacrilege which generated a local uproar. A copy made in replacement."
View over Porchia from the belltower of the Basilica Co-Cathedral of Montalto delle Marche or the 'Basilica Santa Maria Assunta e San Vito' is the main church of the town of Montalto delle Marche, Le Marche, Italy. The diocese of Montalto was founded in 1586 by Pope Sixtus V, who erected the present crypt of the church. The pope had received his religious training in the convent of San Francesco in the town. The crypt was completed early and intended to house the structures from the Holy Sepulchre. It now houses a sculptural group of the Deposition by Giorgio Paci. Construction of the church continued for centuries. Mass was only carried out by the end of the 17th century. The final Neoclassical style portico-facade and the octagonal bell tower at the rear of the church were designed by Luigi Poletti in the 19th century. It was made a minor basilica in 1965, with a baptistry in 1967, and had stained glass added in 1990s.
The painting called the Madonna di Montalto was commissioned by Cardinal Alessandro Peretti from the painter Annibale Carracci but the painting never was reached the town and remains in Bologna. The baptismal font was sculpted in 1652.
The tall brick façade has an eclectic Neoclassical design with three round arches almost suggesting a triumphal arch, flanked by pilasters with Corinthian capitals, but for the small triangular tympanum, nestled underneath a balustrade. The interior reflects the façade with a taller barrel vaulted central nave and two lower aisles separated by heavy columns and a total of 12 lateral chapels. The vault of the nave was frescoed in panels by the 19th-century painter Luigi Fontana. To the right of the entrance, the first chapel serves as the baptistry. It has a canvas depicting the Baptism of Christ (1967) painted by Michelangelo Bedini in baroque fashion. The chapel closest to the altar on the left has an canvas depicting the Virgin with the Town of Montalto and Saints Vito and Venanzo (1691) by Pietro Lucatelli. Two other altarpieces and nave frescoes are paint
View over Montalto Delle Marche from the belltower of the Basilica Co-Cathedral of Montalto delle Marche or the 'Basilica Santa Maria Assunta e San Vito' is the main church of the town of Montalto delle Marche, Le Marche, Italy. The diocese of Montalto was founded in 1586 by Pope Sixtus V, who erected the present crypt of the church. The pope had received his religious training in the convent of San Francesco in the town. The crypt was completed early and intended to house the structures from the Holy Sepulchre. It now houses a sculptural group of the Deposition by Giorgio Paci. Construction of the church continued for centuries. Mass was only carried out by the end of the 17th century. The final Neoclassical style portico-facade and the octagonal bell tower at the rear of the church were designed by Luigi Poletti in the 19th century. It was made a minor basilica in 1965, with a baptistry in 1967, and had stained glass added in 1990s.
The painting called the Madonna di Montalto was commissioned by Cardinal Alessandro Peretti from the painter Annibale Carracci but the painting never was reached the town and remains in Bologna. The baptismal font was sculpted in 1652.
The tall brick façade has an eclectic Neoclassical design with three round arches almost suggesting a triumphal arch, flanked by pilasters with Corinthian capitals, but for the small triangular tympanum, nestled underneath a balustrade. The interior reflects the façade with a taller barrel vaulted central nave and two lower aisles separated by heavy columns and a total of 12 lateral chapels. The vault of the nave was frescoed in panels by the 19th-century painter Luigi Fontana. To the right of the entrance, the first chapel serves as the baptistry. It has a canvas depicting the Baptism of Christ (1967) painted by Michelangelo Bedini in baroque fashion. The chapel closest to the altar on the left has an canvas depicting the Virgin with the Town of Montalto and Saints Vito and Venanzo (1691) by Pietro Lucatelli. Two other altarpieces and nave frescoes are painted by Fontana.
Reggio Emilia - Basilica di San Prospero.
Wiki -"The Basilica of San Prospero is an ancient church in central Reggio Emilia, Italy.
A church at the site, known as San Prospero di Castello, located inside the city walls, is known prior to 997. The church and its adjacent bell tower underwent reconstructions. In 1514, the church which was in ruins, was demolished and a new design by Luca Corti and Matteo Florentino was erected by 1527. Minor chapels were added till 1543, when the basilica was reconsecrated. Major changes to the belltower were designed by Cristoforo Ricci and Giulio Romano in 1536-1570. The facade of the church had been left incomplete till it was completed in 1748-1753 using designs of Giovanni Battista Cattani. While the statues on the facade are contemporary with Cattani's design, on the dais in front of the church are placed six lions (1501), sculpted in rose-colored marble by Gaspare Bigi, and meant to be bases for columns of a portico that had been planned for the church front.
The interior has works of art by Giovanni Giarola, Michelangelo Anselmi, Denis Calvaert, Ludovico Carracci, and Tommaso Laureti. It has altarpieces by Alessandro Tiarini and Francesco Stringa. Sculptors whose work is in the church include Bartolomeo Spani (Tomb of Rufino Gabloneta (1527) over the entrance) and Prospero Spani (il Clemente), who sculpted a Madonna on the right transept. The presbytery has a picture cycle by Camillo Procaccini and Bernardino Campi. The apse is frescoed with a Last Judgment by Procaccini.
The Chapel of the Pratonero family in this church once held the painting by Correggio of the Nativity (La Notte) (1522), which now is found in the Dresden Gallery. In 1640, the painting was absconded from the chapel by the Dukes of Modena for their private collection, a sacrilege which generated a local uproar. A copy made in replacement."
Construido para el cardenal Alejandro Farnesio, que se convirtió en el papa Pablo III en 1.534, el palacio lo comenzó Antonio da Sangallo el Joven, tras cuya muerte continuó Miguel Ángel, que creó la cornisa de la fachada y la tercera planta del patio.
El palacio, ahora embajada de Francia, está cerrado al público, pero por la noche, con las arañas encendidas, puede verse el techo de la Gallería, obra maestra de Annibale Carracci (1.597-1.603) basadas en las Metamorfosís de Ovidio.
View over Montalto Delle Marche from the belltower of the Basilica Co-Cathedral of Montalto delle Marche or the 'Basilica Santa Maria Assunta e San Vito' is the main church of the town of Montalto delle Marche, Le Marche, Italy. The diocese of Montalto was founded in 1586 by Pope Sixtus V, who erected the present crypt of the church. The pope had received his religious training in the convent of San Francesco in the town. The crypt was completed early and intended to house the structures from the Holy Sepulchre. It now houses a sculptural group of the Deposition by Giorgio Paci. Construction of the church continued for centuries. Mass was only carried out by the end of the 17th century. The final Neoclassical style portico-facade and the octagonal bell tower at the rear of the church were designed by Luigi Poletti in the 19th century. It was made a minor basilica in 1965, with a baptistry in 1967, and had stained glass added in 1990s.
The painting called the Madonna di Montalto was commissioned by Cardinal Alessandro Peretti from the painter Annibale Carracci but the painting never was reached the town and remains in Bologna. The baptismal font was sculpted in 1652.
The tall brick façade has an eclectic Neoclassical design with three round arches almost suggesting a triumphal arch, flanked by pilasters with Corinthian capitals, but for the small triangular tympanum, nestled underneath a balustrade. The interior reflects the façade with a taller barrel vaulted central nave and two lower aisles separated by heavy columns and a total of 12 lateral chapels. The vault of the nave was frescoed in panels by the 19th-century painter Luigi Fontana. To the right of the entrance, the first chapel serves as the baptistry. It has a canvas depicting the Baptism of Christ (1967) painted by Michelangelo Bedini in baroque fashion. The chapel closest to the altar on the left has an canvas depicting the Virgin with the Town of Montalto and Saints Vito and Venanzo (1691) by Pietro Lucatelli. Two other altarpieces and nave frescoes are painted by Fontana.
View over Montalto Delle Marche from the belltower of the Basilica Co-Cathedral of Montalto delle Marche or the 'Basilica Santa Maria Assunta e San Vito' is the main church of the town of Montalto delle Marche, Le Marche, Italy. The diocese of Montalto was founded in 1586 by Pope Sixtus V, who erected the present crypt of the church. The pope had received his religious training in the convent of San Francesco in the town. The crypt was completed early and intended to house the structures from the Holy Sepulchre. It now houses a sculptural group of the Deposition by Giorgio Paci. Construction of the church continued for centuries. Mass was only carried out by the end of the 17th century. The final Neoclassical style portico-facade and the octagonal bell tower at the rear of the church were designed by Luigi Poletti in the 19th century. It was made a minor basilica in 1965, with a baptistry in 1967, and had stained glass added in 1990s.
The painting called the Madonna di Montalto was commissioned by Cardinal Alessandro Peretti from the painter Annibale Carracci but the painting never was reached the town and remains in Bologna. The baptismal font was sculpted in 1652.
The tall brick façade has an eclectic Neoclassical design with three round arches almost suggesting a triumphal arch, flanked by pilasters with Corinthian capitals, but for the small triangular tympanum, nestled underneath a balustrade. The interior reflects the façade with a taller barrel vaulted central nave and two lower aisles separated by heavy columns and a total of 12 lateral chapels. The vault of the nave was frescoed in panels by the 19th-century painter Luigi Fontana. To the right of the entrance, the first chapel serves as the baptistry. It has a canvas depicting the Baptism of Christ (1967) painted by Michelangelo Bedini in baroque fashion. The chapel closest to the altar on the left has an canvas depicting the Virgin with the Town of Montalto and Saints Vito and Venanzo (1691) by Pietro Lucatelli. Two other altarpieces and nave frescoes are painted by Fontana.
Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts
Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.
This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.
This exhibition is organized by the Minneapolis Institute of Arts.
Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts
Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.
This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.
This exhibition is organized by the Minneapolis Institute of Arts.
Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts
Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.
This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.
This exhibition is organized by the Minneapolis Institute of Arts.
The Basilica di San Prospero. Built in the 10th century and dedicated to Prosper of Reggio, a bishop of the city, it was reconstructed by Luca Corti and Matteo Fiorentini between 1514 and 1523. The façade, with eleven statues of saints and patrones, was redesigned by Giovan Battista Cattani in mid-18th century. It includes a pleasant belfry/tower, begun in 1535 and never quite finished, with an octagonal plant. The interior of the church has a Latin cross plant, with three naves. The apse houses the splendid Last Judgement, frescoed by the Bolognese artist Camillo Procaccini. Also noteworthy are the wood choir from 1546 and the Assumption altarpiece by Tommaso Laureti and Ludovico Carracci (1602).
Rosary Chapel is the most prominent chapel on the left side of the church San Domenico. The vivacious fresco on the vault (the Assumption) and in the apse (Heaven and Earth praising the Madonna of the Rosary) were painted between 1655 and 1657 by Angelo Michele Colonna (1600-1687) and by Agostino Mitelli (1609-1660). The two choir stalls were designed by the architect Carlo Francesco Dotti in 1736 after the redesigning of the interior of the church. The altar was designed by the Bolognese architect Floriano Ambrosini (1557-1621). But the most important paintings in this large chapel are the famous Mysteries of the Rosary, finished in 1601. The most prominent artist of their time worked on the decoration : Lodovico Carracci (the Annunciation and the Visitation), Bartolomeo Cesi (the Nativity), Denis Calvaert (Presentation of Jesus in the Temple), the female artist Lavinia Fontana (Jesus among the Doctors and the Coronation of the Virgin), Bartolomeo Cesi (Christ in the garden), Ludovico Carracci (the Scourging and Christ falling under the Cross), Bartolomeo Cesi (the Crowning with Thorns, the Crucifixion and Pentecost), Guido Reni (the Resurrection), Domenichino (the Assumption of the Blessed Virgin).
As you enter the Pantheon, also known as the Chiesa Santa Maria ad Martyres (Church of Saint Mary and the Martyrs), the first exedra chapel on the right is the Cappella della'Annunciazione (Chapel of the Annunciation). This photo shows the works to the far right side of the altar, including a painting titled ''The Incredulity of St Thomas'' (1633) by Pietro Paolo Bonzi, also known as Il Gobbo de'Carracci. According to the Churches of Rome Wiki, the marble angel sculptures in this chapel are from the 17th century.
Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts
Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.
This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.
This exhibition is organized by the Minneapolis Institute of Arts.
The Basilica di San Prospero. Built in the 10th century and dedicated to Prosper of Reggio, a bishop of the city, it was reconstructed by Luca Corti and Matteo Fiorentini between 1514 and 1523. The façade, with eleven statues of saints and patrones, was redesigned by Giovan Battista Cattani in mid-18th century. It includes a pleasant belfry/tower, begun in 1535 and never quite finished, with an octagonal plant. The interior of the church has a Latin cross plant, with three naves. The apse houses the splendid Last Judgement, frescoed by the Bolognese artist Camillo Procaccini. Also noteworthy are the wood choir from 1546 and the Assumption altarpiece by Tommaso Laureti and Ludovico Carracci (1602).
Fotografía : Mariana Castillo
Producción: Mariana y Andrea
Al terminar de modelar para mi amiga que me pidió representar el Cristo Muerto de Carracci, la trinidad se apoderó de mi ego y terminé de Madonna.
Acá les dejo esta foto sin premeditación, que a pesar de que el tema se aleja de mis intereses, me gustó harto.
Por eso gracias Mariana por invitarme a modelar y por la foto :)
Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts
Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.
This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.
This exhibition is organized by the Minneapolis Institute of Arts.
View over Montalto Delle Marche from the belltower of the Basilica Co-Cathedral of Montalto delle Marche or the 'Basilica Santa Maria Assunta e San Vito' is the main church of the town of Montalto delle Marche, Le Marche, Italy. The diocese of Montalto was founded in 1586 by Pope Sixtus V, who erected the present crypt of the church. The pope had received his religious training in the convent of San Francesco in the town. The crypt was completed early and intended to house the structures from the Holy Sepulchre. It now houses a sculptural group of the Deposition by Giorgio Paci. Construction of the church continued for centuries. Mass was only carried out by the end of the 17th century. The final Neoclassical style portico-facade and the octagonal bell tower at the rear of the church were designed by Luigi Poletti in the 19th century. It was made a minor basilica in 1965, with a baptistry in 1967, and had stained glass added in 1990s.
The painting called the Madonna di Montalto was commissioned by Cardinal Alessandro Peretti from the painter Annibale Carracci but the painting never was reached the town and remains in Bologna. The baptismal font was sculpted in 1652.
The tall brick façade has an eclectic Neoclassical design with three round arches almost suggesting a triumphal arch, flanked by pilasters with Corinthian capitals, but for the small triangular tympanum, nestled underneath a balustrade. The interior reflects the façade with a taller barrel vaulted central nave and two lower aisles separated by heavy columns and a total of 12 lateral chapels. The vault of the nave was frescoed in panels by the 19th-century painter Luigi Fontana. To the right of the entrance, the first chapel serves as the baptistry. It has a canvas depicting the Baptism of Christ (1967) painted by Michelangelo Bedini in baroque fashion. The chapel closest to the altar on the left has an canvas depicting the Virgin with the Town of Montalto and Saints Vito and Venanzo (1691) by Pietro Lucatelli. Two other altarpieces and nave frescoes are painted by Fontana.
Print 123 of 327. Gospels. From the Bowyer Bible in Bolton Museum, England.
BOWYER BIBLE VOLUME 34 PRINT 4669.
THE VISITATION. ANNIBALE CARRACCI (1560-1609).
Engraving after Annibale Carracci. Print made by Michel Lasne. School: French. The Virgin embraces St Elizabeth. Inscription Content: Signed on plate with monogram; the rest of the inscription has been trimmed off. Dimensions: height: 364 millimetres (trimmed); width: 263 millimetres.
Annibale Carracci (15601609) was a painter and etcher who was born in Bologna and died in Rome. (He was the brother of Agostino, and the cousin of Lodovico.) Bibliography: Diane de Grazia Bohlin, 'Prints and related drawings by the Carracci family, a catalogue raisonné', Washington (National Gallery of Art) 1979 (22 nos).
Michel Lasne (15961667) was an engraver born at Caen before 1590. His name was sometimes Latinised as Asinius. He engraved after Rubens from 1617 to 1620 at Antwerp. He was then in Paris. His engravings are signed "ML", "LM", "Michael Asinius", or "Michael Lanius". He was also known as Michel L'Asne.
Photo by Harry Kossuth. File created by Phillip Vere. Research by Phillip Medhurst.
Source : www.wga.hu/art/c/carracci/annibale/2/selfpor.jpg
Annibal Carrache, Autoportrait, 1590-1600, Huile sur toile, Musée des Offices, Florence
Mais aussi : lesommeildendymion.wordpress.com/biographie-de-carrache/
Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts
Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.
This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.
This exhibition is organized by the Minneapolis Institute of Arts.
Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts
Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.
This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.
This exhibition is organized by the Minneapolis Institute of Arts.
Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts
Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.
This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.
This exhibition is organized by the Minneapolis Institute of Arts.
This church is one of the most important building in Reggio Emillia, Emilia-Romagna region in northern Italy.
The church is adorned by noteworthy frescos, painted by artists of the Carracci school.
HDR from a single raw file.
Full title: Christ appearing to Saint Anthony Abbot
Artist: Annibale Carracci
Date made: about 1598
Source: www.nationalgalleryimages.co.uk/
Contact: picture.library@nationalgallery.co.uk
Copyright © The National Gallery, London
Full title: The Dead Christ Mourned ('The Three Maries')
Artist: Annibale Carracci
Date made: about 1604
Source: www.nationalgalleryimages.co.uk/
Contact: picture.library@nationalgallery.co.uk
Copyright © The National Gallery, London
View over Montalto Delle Marche from the belltower of the Basilica Co-Cathedral of Montalto delle Marche or the 'Basilica Santa Maria Assunta e San Vito' is the main church of the town of Montalto delle Marche, Le Marche, Italy. The diocese of Montalto was founded in 1586 by Pope Sixtus V, who erected the present crypt of the church. The pope had received his religious training in the convent of San Francesco in the town. The crypt was completed early and intended to house the structures from the Holy Sepulchre. It now houses a sculptural group of the Deposition by Giorgio Paci. Construction of the church continued for centuries. Mass was only carried out by the end of the 17th century. The final Neoclassical style portico-facade and the octagonal bell tower at the rear of the church were designed by Luigi Poletti in the 19th century. It was made a minor basilica in 1965, with a baptistry in 1967, and had stained glass added in 1990s.
The painting called the Madonna di Montalto was commissioned by Cardinal Alessandro Peretti from the painter Annibale Carracci but the painting never was reached the town and remains in Bologna. The baptismal font was sculpted in 1652.
The tall brick façade has an eclectic Neoclassical design with three round arches almost suggesting a triumphal arch, flanked by pilasters with Corinthian capitals, but for the small triangular tympanum, nestled underneath a balustrade. The interior reflects the façade with a taller barrel vaulted central nave and two lower aisles separated by heavy columns and a total of 12 lateral chapels. The vault of the nave was frescoed in panels by the 19th-century painter Luigi Fontana. To the right of the entrance, the first chapel serves as the baptistry. It has a canvas depicting the Baptism of Christ (1967) painted by Michelangelo Bedini in baroque fashion. The chapel closest to the altar on the left has an canvas depicting the Virgin with the Town of Montalto and Saints Vito and Venanzo (1691) by Pietro Lucatelli. Two other altarpieces and nave fres
View over Montalto Delle Marche from the belltower of the Basilica Co-Cathedral of Montalto delle Marche or the 'Basilica Santa Maria Assunta e San Vito' is the main church of the town of Montalto delle Marche, Le Marche, Italy. The diocese of Montalto was founded in 1586 by Pope Sixtus V, who erected the present crypt of the church. The pope had received his religious training in the convent of San Francesco in the town. The crypt was completed early and intended to house the structures from the Holy Sepulchre. It now houses a sculptural group of the Deposition by Giorgio Paci. Construction of the church continued for centuries. Mass was only carried out by the end of the 17th century. The final Neoclassical style portico-facade and the octagonal bell tower at the rear of the church were designed by Luigi Poletti in the 19th century. It was made a minor basilica in 1965, with a baptistry in 1967, and had stained glass added in 1990s.
The painting called the Madonna di Montalto was commissioned by Cardinal Alessandro Peretti from the painter Annibale Carracci but the painting never was reached the town and remains in Bologna. The baptismal font was sculpted in 1652.
The tall brick façade has an eclectic Neoclassical design with three round arches almost suggesting a triumphal arch, flanked by pilasters with Corinthian capitals, but for the small triangular tympanum, nestled underneath a balustrade. The interior reflects the façade with a taller barrel vaulted central nave and two lower aisles separated by heavy columns and a total of 12 lateral chapels. The vault of the nave was frescoed in panels by the 19th-century painter Luigi Fontana. To the right of the entrance, the first chapel serves as the baptistry. It has a canvas depicting the Baptism of Christ (1967) painted by Michelangelo Bedini in baroque fashion. The chapel closest to the altar on the left has an canvas depicting the Virgin with the Town of Montalto and Saints Vito and Venanzo (1691) by Pietro Lucatelli. Two other altarpieces and nave frescoes are painted by Fontana.
Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts
Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.
This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.
This exhibition is organized by the Minneapolis Institute of Arts.
Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts
Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.
This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.
This exhibition is organized by the Minneapolis Institute of Arts.