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Brera, Milan.
Martyrdom of St. Vitalis (detail).
Federico Barocci.
1580-83.
Website -
"The Congregation of Monte Cassino in San Vitale, which commissioned this picture, ordered mBarocci to add more figures to his original design. The painting, finished in 1583, was brought to Urbino and placed on the altar dedicated to the saint. In the 18th century it was moved to the sacristy where it stayed until the Napoleonic confiscations. The picture – which had a major impact on Bolognese painting, especially on Annibale Carracci – combines an academic tone with more realistic notes in its crowded composition."
Silenus gathering Grapes by Annibale Carracci (1597 - 1600).
Detail of a painting in the National Gallery.
London.
In classical mythology Silenus was the companion of Bacchus, god of wine. This painting is part of the decoration which Annibale Carracci executed on a keyboard instrument for Fulvio Orsini (1529 - 1600).
Dedicated to Santa Caterina, Bologna's most important female saint, this little church and convent on Via Tagliapietre, restored to something like its former glory following considerable damage in the Second World War has a beautiful portal and also a number of frescoes by Ludovico Carracci and friends inside.
Museo Nacional de Arte de Catalunya - Presentacion de Jesus en el templo - de Ludovico Carracci - sobre el 1600
La Basilica Concattedrale di San Cassiano Martire és un majestuós edifici dedicat al patró de la ciutat de Comacchio.
S'aixeca al lloc on hi havia l'antiga catedral romànica, construïda l'any 708 i enderrocada l'any 1694. La primera pedra de la nova catedral va ser col·locada el 25 de març de 1659 pel bisbe de Comacchio Sigismondo Isei. Va ser consagrada solemnement l'any 1740. El 1961 va ser elevada a Basílica Menor pel papa Joan XXII. La façana és de maó, amb alguns detalls en pedra d'Ístria. L'interior, d'una sola nau, inclou dotze capelles disposades lateralment, a l'interior de les quals s'hi poden admirar unes estupendes pintures de Biagio Bovi (segle XVIII) de l'escola Carracci de Bolonya, el crucifix de fusta del segle XVII de l'escultor ferrarens Germano Cignani i l'escultura. que representa Santa Llúcia, de l'escola veneciana (segle XV).
És particular l'escenografia que ofereix l'absis, que acull l'imponent altar de marbre del segle XVIII i l'estàtua de fusta del segle XVI del màrtir Cassian, protector de la ciutat i de l'antiga diòcesi. A sobre de la porta d'entrada central hi ha el corral i l'orgue, construïts a Mòdena el 1728 per Gian Domenico Traeri.
Al costat de la catedral s'alça el campanar, construït per primera vegada l'any 1751 pel venecià Giorgio Fossati i enderrocat el 1757. Va ser reconstruït durant el segle següent i acabat el 1868, sense el frontó a la part superior i, per tant, a la part superior. una alçada reduïda respecte a l'original, de la qual es conserva la potent base de pedra d'Ístria. A l'interior, al costat de la brúixola, es pot admirar el plafó pictòric que presenta la maqueta original de la torre.
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."
Engraved illustration of a worker by Simon Guillain in Annibale Carracci's "Diverse figure al numero di ottanta" (Rome" Lodovico Grigniani, 1646)
Agostino Carracci
Bolonia, 1557 – Parma, 1602
"La Virgen y el Niño, con San Juan Bautista, Santa Bárbara y Santa Catalina".
Verso: "Estudio de perro, mujer y niño".
Tinta marrón, pluma, 260 x 180 mm
'San_Gimignano_Villas_10_06' On Black
The hilltop placement of the villas, and the bus coming up the hill reminded me of elements similar in placement in Italian artist Annibale Carracci's Flight into Egypt.
Kring van Annibale Carracci Bologna
Olieverf op canvas
DPG254-Bourgeois Legaat, 1811
Dit schilderij en lijst zijn in 2009 geadopteerd ter nagedachtenis aan David en Evelyn Douglas.
De sobere zwarte jurk en het witte zijden kostuum van deze dame, compleet met delicate knopen en een kraag, suggereren dat ze een edelvrouw is. De roze bloem in haar haar zou een symbool kunnen zijn van een recente huwelijksverloving. Haar gezicht is gevoelig geschilderd en is omlijst met piekerige krullen. Annibale Carracci en zijn artistieke familie introduceerden deze nieuwe naturalistische stijl in de Noord-Italiaanse stad Bologna via de kunstacademie die ze daar in 1582 oprichtten.
Dulwich Picture Gallery London
These are some of the wonderful paintings of MNAC .... special interest is the best collection of Romanesque art in the world
Ce sont quelques-uns des magnifiques peintures de MNAC .... intérêt particulier est la meilleure collection de l'art roman dans le monde
Aquestes són algunes de les meravelloses pintures del MNAC .... d'especial interès és la millor col·lecció d'art romànic del món
Estas son algunas de las maravillosas pinturas del MNAC....de especial interés es la mejor colección de arte románico del mundo.
Ludovico Carracci was one of the earliest painters to explore the emotional side of religious revelation. Here he illustrated, for the first time in art, an episode in which one of Saint Francis’s followers witnessed an apparition of the Virgin giving the Christ Child to the saint to hold. Carracci distinguished the heavenly light around the Virgin from the nocturnal moonlit landscape (on the left at the painting), at the same time he emphasized the intensely spiritual nature of Francis’s experience.
h 103cm × w 102cm
ANNIBALE CARRACCI, Loves of the Gods, ceiling frescoes in the gallery, Palazzo Farnese, Rome, Italy, 1597–1601.
Baroque (Italian)
textbook: 711 - 712
A print from the Bowyer Bible, a grangerised copy of Macklin's Bible in Bolton Museum and Archives, England.
L0049004 Saint Roch dispensing charity. Etching after Annibale
Credit: Wellcome Library, London. Wellcome Images
images@wellcome.ac.uk
Saint Roch dispensing charity. Etching after Annibale Carracci
1610 By: Annibale Carracciafter: Guido Reni and Francesco BrizioPublished: 1610.
Copyrighted work available under Creative Commons Attribution only licence CC BY 4.0 creativecommons.org/licenses/by/4.0/