View allAll Photos Tagged Carracci,
Açougue, déc. 1580, óleo s/ tela, 185 x 266 cm, Christ Church Picture Gallery, Oxford, Inglaterra
(FONTE: 2.bp.blogspot.com/_XGrwEv2JZIo/S9O7LNekbQI/AAAAAAAAARU/w0...)
La conversión de san Pablo es una obra muy representativa de la producción de Maíno. Recuerda al Retablo Mayor de las Cuatro Pascuas (Natividad, Reyes, Resurrección y Pentecostés), pintado para la iglesia de San Pedro Mártir de Toledo (1612-1614), que se conserva en el Museo del Prado y que está considerada una de las producciones más relevantes de la pintura española del siglo XVII.
En esta obra se aprecian los principales y más representativos aspectos que definen el repertorio gráfico del pintor y su lenguaje, caracterizado por un dibujo vigoroso, de trazo minucioso en los contornos, la monumentalidad escultórica de las figuras, creadas mediante una iluminación contrastada, y un colorido intenso. La conversión de san Pablo muestra la deuda contraída por Maíno con la pintura italiana, particularmente, con el estimulante ambiente romano, en cuya ciudad aparece documentada la presencia del artista entre 1605 y 1610.
El lenguaje de Maíno acusa también la influencia de Caravaggio, especialmente visible en el modelado del cabello de los ángeles y en el aspecto severo del rostro de Jesús.
La singularidad del arte de Maíno (1581-1649), tan directamente vinculado a las experiencias romanas de los primeros años del siglo, por su conocimiento del caravaggismo «claro» y su sentido de la naturaleza y el paisaje, tan ligado al mundo romano de Eshheimer y Annibale Carracci, le confieren un puesto de primerísimo orden entre los artistas de su tiempo. Su condición de monje y hombre de letras, unido al prestigio de su posición de profesor del rey Felipe IV cuando príncipe, le convirtieron, sin duda, en figura influyente en el ambiente cortesano.
Domenichino: The Hunt of Diana
Small: Jupiter and Juno, attributed to Carracci Antonio
The Borghese Gallery is one of the top art museums to visit in Rome. The art on display is of the best quality and the small, almost intimate villa, is much easier to enjoy than the vast packed exhibition halls of the Vatican Museums. Highlights include the largest single collection of Caravaggio paintings in the world, several Bernini sculptures, Canova's Pauline Borghese as Venus, and paintings by top artists such as Raphael, Titian, Correggio, Domenichino, Rubens, and Cranach. Admissions are limited with time-slot reservation tickets essential to secure the two hours visitors are allowed to spend in the villa.
• Nude • Nu • Nackt • Nuda • ヌード • Nue • Desnuda • Nakinn • Nøgen • Naakt • Naken • Nud • Akt • Γυμνός • Desnudo •
The name Pantheon is a Greek adjective meaning "honor all gods" which refers to the building's original function as a temple for all the gods. The temple was converted into a church in 609 AD and today it's dedicated to St. Mary of the Martyrs. It was the largest dome in the world (over 43 meters-141 feet) until 1436 when the Florence Cathedral was constructed.
Before the current Pantheon was built, two other buildings occupied the same site but both burned down. The right hand man of Emperor Augustus, Agrippa, built the first Pantheon in 27 B.C. but it burned in the Great Fire of 80 AD. It was rebuilt by Emperor Domitian but it was struck by lightning in 110 AD. In 118 AD Emperor Hadrian ordered for the Pantheon to be rebuilt again but this time in a totally different, circular design. He designed it with a famous Greek architect but the architect was executed by the Emperor because of an argument about the design of the temple. It was completed seven years later, in 125 AD.
The Pantheon contains the tombs of the famous artist Raphael Santi and two of Italy's kings-Vittorio Emmanuel II, the first king of Italy and the man who united Italy, and Umberto I, Victor Emmanuel’s successor. Above Raphael’s tomb is a sculpture of the Madonna del Sasso created by Raphael’s student Lorenzetto. There are also tombs of painter Annibale Carracci, the composer Arcangelo Corelli, and the architect Baldassare Peruzzi.
Four of the remaining recesses are chapels dedicated to St Joseph, the Madonna of Clemency, the crucifixion, and the annunciation. Each of them is beautifully decorated with fine Renaissance art - frescoes, paintings and sculptures. Chapel of St. Joseph of the Holy Land. The marble floor - which features a design consisting of a series of geometric patterns - is still the ancient Roman original.
I'm catching up on some older shots here. This is a night scene around Christmastime in Bologna--with how hot it is right now in Macerata, thinking back to this weather is a bit helpful.
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property of the Metropolitan Museum of Art, New York
for educational purpose only
please do not use without permission
The Vision of Saint Francis of Assisi, Ludovico Carracci, 1583 - 1585, Rijksmuseum, Museum Square, Amsterdam South, Netherlands
Painted in 1601-1602. This work depicts a Christian story not included in the New Testament. The story tells that after St Peter the Apostle moved to Rome a persecution of Christians began. Peter began to flee but as he approached the city limits he came across Jesus carrying his cross going the opposite way. Peter asked him 'Lord, where are you going?' (In Latin, 'Domine, Quo Vadis?'). Jesus answered, 'I am going to Rome to be crucified a second time.' Peter understood that it was meant to be a rebuke to his cowardice, and immediately turned back towards Rome to face persecution for his faith. Annibale Carracci (1560-1609) was a member of a famous family of Baroque painters in Italy.
The woman holding a sheaf of wheat and a bunch of grapes represents Abundance or Plenty. Preparatory drawings show that the other figure was intended to hold a winged sceptre or caduceus, an emblem of Peace, buti t was left unfinished and only the lower handle, is visible. In the background an army retreats into a fortified citadel. The picture was almost certainly painted for Duke Ranuccio Farnese, and the message of the allegory concerns the benefits to be gained from his peaceful rule over the province of Parma and Piacenza.
La donna con in mano un fascio di grano e un grappolo d'uva rappresenta l'abbondanza o la copiosità. I disegni preparatori mostrano che l'altra figura doveva contenere uno scettro alato o un caduceo, un emblema della Pace, ma era rimasto incompiuto ed è visibile solo la maniglia inferiore. Sullo sfondo un esercito si ritira in una cittadella fortificata. Il quadro fu quasi certamente dipinto per il duca Ranuccio Farnese e il messaggio dell'allegoria riguarda i benefici che si possono ottenere dal suo pacifico governo sulla provincia di Parma e Piacenza.
ALG169046 The Transfiguration, 1594-95 (oil on canvas) by Carracci, Lodovico (1555-1619)
oil on canvas
438x268
Pinacoteca Nazionale, Bologna, Italy
Alinari
Italian, out of copyright
ALL PHOTOS WERE TAKEN BY ME
PHOTOGRAPHED PAINTING NUMBER IN MY DATABASE – RELIGIOUS PAINTING Nº 75/924
AUTHOR: CARRACCI, ANNIBALE (1560-1609)
NAME OF WORK: THE MARTYRDOM OF THE SAINT STEPHEN
TECNIQUES: OIL ON COPPER
YEAR: 1603-1604
DIMENSIONS: 51X68CM
COUNTRY: ESTONIA
CITY: TALLIN
WHERE I TOOK THE PHOTO: KADRIORG PALACE
THE YEAR WHEN I TOOK THE PHOTO: 2017
LINK THE AUTOR: pt.wikipedia.org/wiki/Annibale_Carracci
LINK THE WORK: pt.wikipedia.org/wiki/Ficheiro:Annibale_Carracci_-_The_Ma...
LINK TO THE MUSEUM: www.visitestonia.com/en/kadriorg-palace
These are some of the wonderful paintings of MNAC .... special interest is the best collection of Romanesque art in the world
ALL PHOTOS WERE TAKEN BY ME
PHOTOGRAPHED PAINTING NUMBER IN MY DATABASE – RELIGIOUS PAINTING Nº 75/924
AUTHOR: CARRACCI, ANNIBALE (1560-1609)
NAME OF WORK: THE MARTYRDOM OF THE SAINT STEPHEN
TECNIQUES: OIL ON COPPER
YEAR: 1603-1604
DIMENSIONS: 51X68CM
COUNTRY: ESTONIA
CITY: TALLIN
WHERE I TOOK THE PHOTO: KADRIORG PALACE
THE YEAR WHEN I TOOK THE PHOTO: 2017
LINK THE AUTOR: pt.wikipedia.org/wiki/Annibale_Carracci
LINK THE WORK: pt.wikipedia.org/wiki/Ficheiro:Annibale_Carracci_-_The_Ma...
LINK TO THE MUSEUM: www.visitestonia.com/en/kadriorg-palace