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Saw beautiful art by Raphael, Caravaggio, Bernini, Rubens, Titian, Carracci to name a few. All of those artists that I studied in my many art history classes....now being able to see them in person was unbelievable.
A Gourmet experience in the prestigious" I Carracci restaurant " one of the most elegant in the city for its warm and intimate atmosphere, housed in a magnificent hall of the '500, whose ceiling is entirely dedicated to the wonderful frescoes of the school of the Carracci brothers. Open to the public for lunch and dinner.
RENI, Guido
(b. 1575, Calvenzano, d. 1642, Bologna)
Moses with the Tables of the Law
c. 1624
Oil on canvas, 173 x 134 cm
Galleria Borghese, Rome
At the beginning of the 17th century the followers of Caravaggio and Carracci vied with each other for predominance. Some sought a classical approach and a serene harmony of forms and colours, others were intent on humbly capturing simple everyday life set in a powerful contrast of light and shadow. But there was no hard and fast dividing line between them and even classical painters like Guido Reni in his Moses is influenced by Caravaggio's heroic dramatic style. This new humble yet monumental language became an international phenomenon.
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Author: RENI, Guido
Title: Moses with the Tables of the Law
Time-line: 1601-1650
School: Italian
Form: painting
Type: religious
Christ stands beside the whipping post with his head lowered. He emerges from the darkness, with light and shade modelling every muscle of his body. Resigned to his fate, he awaits the blows of the ruffians who have not yet begun their work. By presenting a close-up view of Christ the artist in a way places the viewer in the position of the executioner's henchmen. Guido Reni had trained initially in Bologna at the academy of the Carracci. He produced the Frankfurt painting soon after moving to Rome; it demonstrates Reni's recent study of the art of Caravaggio. The young painter followed the latter's striving to achieve the direct presence of the figure, but removes any drastic elements in favour of concentrating on the figure of the Son of God. The artist may have created this work for his Roman patron, Cardinal Paolo Emilio Sfondrati, a possibility suggested by the whipping post, which is an exact copy of the one revered to this day in the Basilica S. Prassede. Sfondrati was the protector of the associated monastery and belonged to the circles that showed an increased interest in the ancient relics of early Christianity.
From the museum label: 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, but it 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.
The deluge.
Around 1616-1618
In the 1653 Inventory of the collection of Cardinal Mazarin, in Paris, this painting incorporates the composition of a fresco painted by Antoine Carrache in Rome, at the Quirinal Palace, between May and November 1616.
Antoine Carrache (Antonio Carracci)
Venice, circa 1583-Rome, 1618
Full title: A Woman borne off by a Sea God (?)
Artist: Agostino Carracci
Date made: about 1599
Source: www.nationalgalleryimages.co.uk/
Contact: picture.library@nationalgallery.co.uk
Copyright © The National Gallery, London
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