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This much admired painting, reproduced as early as 1582 in an engraving by the young Agostino Carracci, shows Saint Anthony beset by two female and two male demons tearing off his clothing. The hermit's habit, ripped apart into the form of a cross, his pale loincloth, and the attitudes of his arms and head show that his torments are a parallel to the Passion of Christ. Perhaps intentionally, the divine figure coming to his aid could at first sight be taken for Saint Mark, the patron saint of Venice, because of its red and blue clothing.
La Iglesia de San Bartolomeo en la Isla tiene más de mil años y se encuentra en la Isla Tiberina, entre el Rione Trastevere y el barrio de los judíos. De hecho, a finales del siglo X, el emperador Otón III quiso construir la iglesia en el lugar donde surgió un antiguo templo dedicado a Esculapio, el dios de la medicina.
Inicialmente dedicada a San Adalberto, sufrió numerosas obras de restauración entre los siglos XI y XII.
Tras haber sido completamente destruido por una llena del Tíber en 1557, el edificio sagrado fue reconstruido en el siglo XVII por el arquitecto Orazio Torriani. El exterior presenta una fachada barroca de dos plantas y un pórtico; el interior se compone de tres naves sostenidas por columnas antiguas. En la iglesia están custodiados las reliquias de San Bartolomé Apóstol, cuyo cuerpo descansa en el sarcófago de pórfido rojo bajo el altar mayor, y las de San Adalberto, obispo de Praga, que fue asesinado en el año 997 mientras intentaba evangelizar a las poblaciones paganas del norte de Europa.
Entre las obras más cautivadores que se encuentran en la iglesia, se destaca la Flagelación de Cristo, una pintura de Antonio Carracci (1589 -1618), sobrino de Annibale.
A print from the Bowyer Bible, an extra-illustrated edition of Macklin's Bible in Bolton Museum and Archives, England.
Valentin de Boulogne (Le Valentin)
Coulommiers-en-Brie, France, 1591 – Rome 1632
About 1630-1632
Oil on canvas (unfinished)
149.2 x 186.1 cm
Gift of Lord Strathcona and family
Inventory 1927.446
Conservation of this work was made possible by the Bank of America Merrill Lynch Art Conservation Project
This monumental painting was in the seventeenth-century collection of Cardinal Ascanio Filomarino, who had risen to prominence in Rome in Cardinal Barberini’s circle and became Archbishop of Naples in 1641. Filomarino was sensitive to the most advanced currents in Roman painting as seen here with the Caravaggism, owning twelve Vouets, paintings by Annibale Carracci, the Domenichino, Giovanni Lanfranco and Guido Reni, and this painting. Valentin transforms the theatricality of Caravaggio’s celebrated earlier version depicting a screaming Isaac and an angel rushing in to stop the hand of a stern Abraham (Uffizi, Florence) into a poignant image representing the passive acceptance of Isaac and the sad resignation of Abraham to the abhorrent act he is prepared to enact but compassionately interrupted from committing by a descending angel. For Christians, such as Cardinal Filomarino, the willingness of Abraham to sacrifice his beloved son prefigured that of God in the sacrificial death of Christ. The picture is among the artist’s three surviving unfinished works and dates to about 1631.
The third niche holds the mortal remains – his Ossa et cineres, "Bones and ashes", as the inscription on the sarcophagus says – of the great artist Raphael. His fiancée, Maria Bibbiena is buried to the right of his sarcophagus; she died before they could marry. The sarcophagus was given by Pope Gregory XVI, and its inscription reads ILLE HIC EST RAPHAEL TIMUIT QUO SOSPITE VINCI / RERUM MAGNA PARENS ET MORIENTE MORI, meaning "Here lies Raphael, by whom the mother of all things (Nature) feared to be overcome while he was living, and while he was dying, herself to die". The epigraph was written by Pietro Bembo. The present arrangement is from 1811, designed by Antonio Munoz. The bust of Raphael (1833) is by Giuseppe Fabris. The two plaques commemorate Maria Bibbiena and Annibale Carracci. Behind the tomb is the statue known as the Madonna del Sasso (Madonna of the Rock) so named because she rests one foot on a boulder. It was commissioned by Raphael and made by Lorenzetto in 1524.
RUBENS, Pieter Pauwel
(b. 1577, Siegen, d. 1640, Antwerpen)
The Ecstasy of St Gregory the Great
1608
Oil on canvas, 477 x 288 cm
Muse des Beaux-Arts, Grenoble
At the end of 1605 Rubens settled in Rome. Of great significance were his commissions for the Oratorians, who were, with the Jesuits, one of the most important new orders of the Counter-Reformation. In these altarpieces of Rubens's later period there is a strong affinity with the work of Correggio, another painter of the High Renaissance, who exercised an important influence on the emergence of the Baroque style through his softer modelling and his emotionally charged expressively. That was particularly the case in contemporary Rome, where the style of the leading painters such as Federico Barocci and Annibale Carracci was based in part on Correggio.
The Ecstasy of St Gregory the Great was commissioned for the high-altar painting of the Oratorians' main church, Santa Maria Vallicella. The compositional structure and the emotionally charged facial expressions and details in movement in Rubens's first 'modello' for this altarpiece (Staatliche Museen, Berlin) is inspired by similar altar compositions by Correggio. In the definitive version the construction, influenced by Raphael and antique sculpture, is stronger and more classicist. This painting is without doubt the zenith of the artistic output of Rubens's Italian years. This majestic veneration of the saints is also one of the most manifest expressions of Counter-Reformation triumphalism in the city of its birth.
Rubens considered this commission as the confirmation of his reputation as a painter in Rome. Yet the picture was not hung in the place for which it was intended, because it reflected the light entering the church too strongly. For this reason the canvas was replaced by a new version on slate. This was quite different from the first painting; its composition was divided over three separate panels. This work, still in its original place in Santa Maria Vallicella, was ready in autumn 1608. Immediately afterwards Rubens returned to Antwerp. He took the rejected canvas with him and placed it above the tomb of his mother, Maria Pijpelinckx, who had died while he was on his way home.
Suggested listening (streaming mp3, 12 minutes):Gregorian chants
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Author: RUBENS, Pieter Pauwel
Title: The Ecstasy of St Gregory the Great
Time-line: 1601-1650
School: Flemish
Form: painting
Type: religious
Frederick Howard, 5th Earl of Carlisle K.G., P.C. (28th May 1748 – 4th September 1825).
"He was the son of Henry Howard, 4th Earl of Carlisle and his second wife Isabella Byron. His mother was a daughter of William Byron, 4th Baron Byron and his wife Frances Berkeley, a descendant of John Berkeley, 1st Baron Berkeley of Stratton. She was also a sister of William Byron, 5th Baron Byron and a great-aunt of George Gordon Byron, 6th Baron Byron, the poet. In 1798, Carlisle was appointed guardian to Lord Byron who later lampooned him in English Bards and Scotch Reviewers."
"During his youth Carlisle was mentored by George Selwyn and was chiefly known as a man of pleasure and fashion. He was created a Knight of the Thistle in 1767, and entered the House of Lords in 1770. After he had reached thirty years of age, his appointment on a Commission sent out by Frederick North, Lord North, to attempt a reconciliation with the Thirteen Colonies during the American War of Independence was received with sneers by the opposition. The failure of the embassy was not due to any incapacity on the part of the earl, but to the unpopularity of the government from which it received its authority. He was considered to have displayed so much ability that he was entrusted with the viceroyalty of Ireland in 1780."
The 5th Earl followed in the collecting footsteps, and purchased Italian Old Masters extensively, including paintings by Bassano, Bedoli, Bellini, Carracci, Domenichino, Gentileschi and Titian. He patronised English artists too: Sir Joshua Reynolds, Johann Zoffany, and Thomas Gainsborough. In 1805 he published the first printed catalogue of the collection at Castle Howard, listing 111 paintings. By the fourth edition in 1845 this had grown to 274.
"John Hoppner, painted a full-length portrait of him which he exhibited at the Royal Academy in 1797. The art critic John Williams, under the soubriquet Anthony Pasquin, poured vitriol on the picture, observing: ‘This Nobleman is confessed to have an excellent understanding, yet if we look for the traits of intelligence in this portrait, it is in vain, we there discover a something [sic] in the aggregate that rather implies inanity than vigorous thought’. Pasquin’s principal target that year was the gullibility of a number of leading Academicians, notably Benjamin West, who had been duped into promoting a fake Renaissance painting recipe, cooked up by one Thomas Provis and his daughter, the so-called ‘Venetian Secret’. Lord Carlisle, who sat on the top table at the Academy dinner that year, appeared to approve of the ‘process’, as it was dubbed. Among those artists who subscribed to a copy of the recipe was Hoppner, who experimented with it on the background of Lord Carlisle’s portrait, possibly at the behest of his patron. He was, however, unimpressed, telling his fellow Academician Francis Bourgeois that he ‘found it too humpy & meagre a manner of painting to answer his wishes’.
John Hoppner, Frederick Howard, 5th Earl of Carlisle in his Garter Robes, c. 1770. Oil on canvas, 246.4 x 160 cm.
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Mogelijk zelfportret van Annibale Carracci op de tentoonstelling 'Portrait of the artist', tot en met 17 april in The Queen's Gallery, Buckingham Palace
Among the works of art in the Basilica di San Petronio are an Annunciation by Ludovico Carracci, a Romanesque Crucifixion in cedarwood, and a 16th century sculptured group in terracotta depicting the Compianto su Cristo morto ("Lament over the Dead Christ”) by Alfonso Lombardi. In the apse are early 20th-century paintings by Cesare Mauro Trebbi (1847–1931) including Saint Anne in Glory.
Full title: The Marriage of the Virgin
Artist: Ludovico Carracci
Date made: about 1590
Source: www.nationalgalleryimages.co.uk/
Contact: picture.library@nationalgallery.co.uk
Copyright © The National Gallery, London
Ludovico Carracci (copia da)
BACCO E ARIANNA
Primo quarto del XVII secolo,
olio su rame / oil on copper, 40,5 x 31 cm
Bologna, Pinacoteca Nazionale
Inv. 358
Poussin was the innovator of Classical landscape, although only about a dozen of his pictures of this type survive. Their stylistic source was the Aldobrandini Lunettes by Annibale Carracci, assisted by Domenichino and Lanfranco. Poussin abandoned many of the Italians' concessions to realism and retreated into a totally artificial world devoid of subtle light or atmosphere. The earliest of the truly Classical landscapes is probably the Landscape with a Man Killed by a Snake.
In this picture a drama is taking place, but it is not immediately apparent. It was Poussin's aim to bring about this realization slowly in the spectator, through contemplation. A man lies dead in the foreground in the coils of a snake, and another man has come across the spectacle and is fleeing in terror. In the background a woman reacts to the terror of the man in flight, and in turn her reaction is noticed by a fisherman. Poussin has depicted a series of emotions in this extensive panorama which is painted in dense blues, greens and browns. The gloom of the scene is intended to provoke the spectator to contemplate the triumph of nature over man.
The painting probably was painted for one of Poussin's main patrons, Pointel.
From the book The Virgin in Art
Workshop of Annibale Carracci
Early 17th century. Oil on canvas
Mandruzzo chapel, The Church of San Onofrio, Rome
Stanzione (1585 – 1656) se convirtió en el maestro más reconocido del Nápoles de los años centrales del siglo XVII, a la vez que su pintura nutrió a numerosos discípulos y seguidores.
Sus obras comprendidas entre los años 1635 y 1645, como es el caso de esta Santa Inés, han sido consideradas como las más representativas de su estilo, cuando llevó a la maestría un naturalismo que se aleja del estilo recio de Ribera para aliarse con un clasicismo elegante y refinado.
Buen conocedor del caravaggismo que se practicaba en Roma, especialmente el de los franceses como Vouet, supo aliarlo con acierto al mundo boloñés y emiliano. Su estudio de la Antigüedad se completó con la admiración hacia Aníbal Carracci y, sobre todo, Guido Reni. Su pintura, además, se enriqueció con la llegada a Nápoles de Artemisa Gentileschi, con la que permanecería muy vinculado. Su sentido especial para los valores cromáticos sutiles y las líneas melodiosas, la gracia y el lirismo de sus figuras, le llevaron a que se le considerase el «Guido Reni napolitano».
___________________________________
De familia noble, Inés sufrió martirio en el siglo III al no querer casarse con el hijo de un prefecto romano.
En la obra, siguiendo la iconografía que desde el Medievo la representa, la santa, unida a Jesucristo, aparece acompañada del cordero místico, símbolo del Mesías. La raíz de su nombre, Agnes, es la misma que para Agnus, "cordero" en latín; atributo de su pureza y sencillez.
Con un cuidado efecto escenográfico y el rostro extasiado de la santa, el pintor subraya el vínculo entre los dos protagonistas y simboliza la comunicación que tiene Inés con la divinidad.
Stanzione, no obstante, ha prescindido del halo y la hoja de palma, omisiones que son comunes en la pintura napolitana del siglo XVII. Aunque carece de los signos externos tradicionales de la santidad, su estado de santidad se evidencia en la cabeza levantada y los ojos hacia arriba, la boca abierta y la mano con los dedos extendidos sobre el corazón. El bloque de piedra que cierra una esquina de la composición es un dispositivo comúnmente utilizado en la pintura napolitana de este siglo. Sin embargo, en el caso de Santa Inés, el bloque de piedra también sirve para representar el altar en el que se coloca el Agnus Dei, o cordero de sacrificio.
Bologna, 1583-1585
Olieverf op doek
Religieuze emotionele ervaring is een belangrijk aspect van Carracci's werk. Hier verschijnt, voor het eerst in de kunst, Maria aan Sint-Franciscus, die het kindje Jezus van haar krijgt. Carracci schitterde een groot contrast tussen het hemelse licht rond Maria en het nachtelijke duister. Op deze manier benadrukte hij het intens spirituele karakter van Franciscus' visioen.
Rijksmuseum
Amsterdam
Stanzione (1585 – 1656) se convirtió en el maestro más reconocido del Nápoles de los años centrales del siglo XVII, a la vez que su pintura nutrió a numerosos discípulos y seguidores.
Sus obras comprendidas entre los años 1635 y 1645, como es el caso de esta Santa Inés, han sido consideradas como las más representativas de su estilo, cuando llevó a la maestría un naturalismo que se aleja del estilo recio de Ribera para aliarse con un clasicismo elegante y refinado.
Buen conocedor del caravaggismo que se practicaba en Roma, especialmente el de los franceses como Vouet, supo aliarlo con acierto al mundo boloñés y emiliano. Su estudio de la Antigüedad se completó con la admiración hacia Aníbal Carracci y, sobre todo, Guido Reni. Su pintura, además, se enriqueció con la llegada a Nápoles de Artemisa Gentileschi, con la que permanecería muy vinculado. Su sentido especial para los valores cromáticos sutiles y las líneas melodiosas, la gracia y el lirismo de sus figuras, le llevaron a que se le considerase el «Guido Reni napolitano».
___________________________________
De familia noble, Inés sufrió martirio en el siglo III al no querer casarse con el hijo de un prefecto romano.
En la obra, siguiendo la iconografía que desde el Medievo la representa, la santa, unida a Jesucristo, aparece acompañada del cordero místico, símbolo del Mesías. La raíz de su nombre, Agnes, es la misma que para Agnus, "cordero" en latín; atributo de su pureza y sencillez.
Con un cuidado efecto escenográfico y el rostro extasiado de la santa, el pintor subraya el vínculo entre los dos protagonistas y simboliza la comunicación que tiene Inés con la divinidad.
Stanzione, no obstante, ha prescindido del halo y la hoja de palma, omisiones que son comunes en la pintura napolitana del siglo XVII. Aunque carece de los signos externos tradicionales de la santidad, su estado de santidad se evidencia en la cabeza levantada y los ojos hacia arriba, la boca abierta y la mano con los dedos extendidos sobre el corazón. El bloque de piedra que cierra una esquina de la composición es un dispositivo comúnmente utilizado en la pintura napolitana de este siglo. Sin embargo, en el caso de Santa Inés, el bloque de piedra también sirve para representar el altar en el que se coloca el Agnus Dei, o cordero de sacrificio.
Annibale Carracci, 1599-1600. retábulo, óleo sobre tela, 156x149 cm; Museo di Capodimonte, Nápoles.
Fonte:GOMBRICH, E.H. A história da arte. Rio de Janeiro: Editora LTC, 1995.
From the museum label: The penitent Mary Magdalene was a popular Christian subject among seventeenth-century Italian artists. She was portrayed as a reformed sinner who washed and anointed Christ's feet, and she was also represented at Christ's resurrection. Here, Domenichino has depicted her with a jar of ointment, kneeling next to Christ's tomb. The artist, a native of Bologna, was a contemporary of Caravaggio in Rome in the early 1600s. Inspired by the work of Raphael, and that of his teacher Annibale Carracci, Domenichino played a pivotal role in the development of an idealised, classical style of painting in Italy.
The emphatic structure of the Roman ruins in this painting is completely in line with the classicism of the later Paul Bril and of Annibale Carracci.
This photo reflects the painting by Annibale Carracci (1560-1609) of the Butcher's Shop, painted about 1580, now on display at the Kimbell Art Museum, Fort Worth, TX USA.
Concordia University was mandated to administer the Max Stern Art Restitution Project since its inception in 2002. Concordia has been committed to seeking restitution of Max Stern’s art holdings, which were lost during the Nazi regime.
Artist: Lodovico Carracci (Bologna 1555-1619)
Title: Heiliger Hieronymus
English title: Saint Hieronymus
Date: n/a
Inscriptions: n/a
Medium: Oil on wood
Dimensions: 40.5 x 31 cm
Provenance: n/a
References: n/a
Reproductions: Lempertz cat., pl. 47
Notes: Professor Hermann Voss, der Direktor des Wiesbadener Museums, schreibt über das Bild: “ein kleines religiöses Bild von Lodovico Carracci . . ., das der reifen Zeit des Meisters angehört und wegen seiner außerordentlichen Stilverwandtschaft mit dem jungen Guercino interessiert . . . Das Bild ist als Beweis für den Einfluß, den Lodovico auf Guercino ausgeübt hat, von allegemeinem kunstgeschichtlichem Interesse.” Das Gemälde wurde im 17. Jahrhundert von Vandutius Aurifex gestochen. Es ist Aufgeführt und abgebildet bei Hermann Voss. Quellenforschung und Stilkritik, in der Zeitschrift für Kunstgeschichte, Leipzig 1933, II. Band, Heft 3, Seite 191 und 192. Das Gemälde hing eine Zeit lang als Leihgabe im Museum in Weisbaden.
Modena.
Palazzo Musei.
Bottom row - 4 of 5 original paintings by Annibale, Agostino & Ludovico Carracci.
"This canvas was part of a group of five oval paintings of mythological figures. Annibale, Agostino and Ludovico Carracci were commissioned by Cesare d’Este, who in 1591 took it upon himself to refurbish parts of Palazzo dei Diamanti, including his wife’s chamber (Virginia de’ Medici) and the room opposite: The Camera del Poggiolo. Although not yet a duke at the time of the refurbishment, Cesare was the expectant father of his future heir, Alfonso III d’Este.
The oval paintings, presumably intended for the Camera del Poggiolo, featured Flora, Galatea (or Salacia), Venus, Pluto and Aeolus (missing today). In 1592 the paintings arrived at the Palazzo, staying there until 1630 when Francesco I d’Este ordered the surviving works in Ferrara to be taken to the Palazzo Ducale in Modena. In 1796 they were transported to France following the Napoleonic requisitions, only to be officially restored to the Este family in 1815.
Although the unique stylistic characteristics of each artist can be identified, the paintings share key underlying elements: the di sotto in su spatial composition; the supine position of the bodies; their dynamic, well-rounded forms (reminiscent of Michelangelo’s drawing); and an atmosphere worthy of Correggio."