View allAll Photos Tagged Carracci,
S.M. del Popolo. Cerasi Chapel. Annibale Carracci's Assumption in the centre but all eyes are on Caravaggio's two works on the side walls. No photography but you can see The Crucifixion of Saint Peter.
Agostino Carracci
Bolonia, 1557 – Parma, 1602
Estudio de perro, mujer y niño
Reverso: La Virgen y el Niño, con San Juan Bautista, Santa Bárbara y Santa Catalina.
Tinta marrón, pluma, 260 x 180 mm
Annibal Carrache (Annibale Carracci)
Bologna, 1560- Rome, 1609
Pieta with St. Francois and St. Mary Magdalene. About 1602-1607
Probably commissioned by Cardinal Odoardo Farnese around 1602, this Pieta was placed around 1607 on the altar of the Mattei chapel of the Church of San Francesco a Ripa in Rome.
ALBANI, Francesco
(b. 1578, Bologna, d. 1660, Bologna)
Holy Family
1630-35
Oil on canvas, 57 x 43 cm
Galleria Palatina (Palazzo Pitti), Florence
Albani is a typical representative of the reform movement introduced by Carracci. As a student of the Bolognese artists and a colleague of Annibale who collaborated on the decoration of the Aldobrandini lunettes, he had developed a degree of confidence in his choice and application of stylistic means that allowed him not only to handle large wall areas, but also to create small and intimate devotional pictures.
In his Sacra Famiglia or Holy Family Albani finds that characteristic blend of sovereign grace and delicacy that today's spectator may find slightly disturbing. Those of us who regard such emotional emphasis and charm with some suspicion tend to forget the specific tasks and needs these pictures were intended to fulfil in order to satisfy a highly educated and cultivated group of buyers. The usual setting for pictures on this theme was a niche in the bedroom of a patrician house or palace intended for devotional purposes. This function also explains some of the typical traits of such a picture: the intimacy of a family gathering, framed by fragments of great architecture, the gestures of devotion of the two angels and the meditative attitude of the elderly Joseph - all signals with which the contemporary spectator would have been able to identify clearly.
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Author: ALBANI, Francesco
Title: Holy Family
Time-line: 1601-1650
School: Italian
Form: painting
Type: religious
Full life size recreations of paintings from Van Gogh to Carracci transform the streets of York into a gallery.
These waterproof reproductions are spread out all over the city centre near the gallery and haven't been sprayed with grafitti. If it was Edinburgh, or anywhere else, they would be.
Brera, Milan.
Martyrdom of St. Vitalis.
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."
Sommigen van de meest welgestelde reizigers werden tijdens hun Grand Tour gegrepen door een intense verzamelwoede. Op grote schaal schaften zij schilderijen aan en maakten zij jacht op antiquiteiten.
Zij verwierven schilderijen van eigentijdse Italiaanse meesters en plaatsten bestellingen. Thomas Coke liet zich afbeelden aan de voeten van de Romeinse veldheer Cincinnatus. Anderen hadden meer oog voor oude meesters, zoals Paolo Veronese of Annibale Carracci. Een herkomst van een schilderij uit een beroemde collectie, zoals het palazzo Barberini in Rome, was daarbij belangrijk.
Massaal gingen de buitenlanders op zoek naar kunstwerken uit de oudheid, die bij allerlei opgravingen uit de grond kwamen. En daarbij bleek het nog niet zo makkelijk om echt van onecht te onderscheiden, met als gevolg dat er ook 'neppers' in de Engelse landhuizen terecht zijn gekomen, die nu weer antiek zijn.
The Grand Tour - Bestemming Italië
Mauritshuis Den Haag
Full title: Marsyas and Olympus
Artist: Annibale Carracci
Date made: 1597-1600
Source: www.nationalgalleryimages.co.uk/
Contact: picture.library@nationalgallery.co.uk
Copyright © The National Gallery, London
A print from the Bowyer Bible, an extra-illustrated copy of Macklin's Bible in Bolton Museum and Archives, England.
Abraham Bloemaer (b Gorinchem, 25 Dec. 1566; d Utrecht, 13 Jan. 1651). Dutch figure and landscape painter and engraver, the son of a sculptor and architect, Cornelis I Bloemaert (c.1540–93). He spent most of his life in Utrecht, where for many years he was the leading painter and an outstanding teacher. Both, Honthorst, Terbrugghen, and virtually all the Utrecht painters of the period who attained any kind of distinction trained with him.
Bloemaert was a good learner as well as a good teacher and rapidly assimilated the new ideas his pupils brought back from Italy. Early in his career he was one of the leading Dutch exponents of Mannerism (The Miracle of the Loaves, 1593, NG, Edinburgh); in the 1620s he had a Caravaggesque phase; and in his later years he adopted some aspects of the classicism of the Carracci. His most original works are perhaps his landscape drawings, which are more naturalistic than his paintings. Many of his drawings were etched and published by his son Frederick (c.1616–90) in an instructional book for the use of art students (it first appeared c.1650 and continued to be reprinted into the 19th century). Bloemaert had three other painter sons, who were likewise his pupils: Hendrick (c.1601–72), Cornelis II (c.1603–c.1684), and Adriaen (c.1609–66).
Source: The Oxford Dictionary of Art and Artists
www.oxfordreference.com/view/10.1093/oi/authority.2011080...
en.wikipedia.org/wiki/Abraham_Bloemaert?fbclid=IwAR0fNEfU...
Annibale Carracci (¿Taller?)
"Dos figuras caricaturescas".
Reverso: "Dos Santas arrodilladas reciben coronas de un ángel".
Tinta marrón, pluma y aguada sobre trazos de tiza negra. Verso: tinta marrón, pluma, 244 x 168 mm
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.