View allAll Photos Tagged Carracci,
Kneeling Figure (recto); Reclining Figure (verso); Agostino Carracci (Italian, 1557 - 1602); Italy; about 1582 - 1585; Black chalk with white chalk highlights on blue paper (recto); black chalk on blue paper (verso); 42.1 x 26.8 cm (16 9/16 x 10 9/16 in.); 91.GB.68
Artist || Annibale Carracci (1560-1609 in Italy)
Title || Self-Portrait with Other Figures (c.1593)
oil on canvas
60 x 48 cm
Exhibitor || Pinacoteca di Brera, Milan
pinacotecabrera.org/en/collezioni/collezione-on-line/self...
The painter portrays himself in the mirror with three men who have been variously identified: the eldest may be Antonio, Annibale's father, while the younger one is thought to be his brother Agostino's illegitimate son Antonio. This family of artists, with their cousin Ludovico, played a key role in the renewal of painting at the turn of the 16t century. While there is likely to a reference here to the "three ages of man", it is also the depiction of a glimpse of reality reflected in a mirror.
Burghley House
Stamford
Lincolnshire
The Black and Yellow Bedroom
The Virgin and Child appearing to Saint Dominic,
Francesco Albani (1578-1660).
Oil on copper
Saint Dominic (1170-1221) was a Spanish priest and the founder of the Dominican Order. He is the patron saint of astronomers.
Albani was a Bolognese artist who studied under Denis Calvaert and the Carraccis and was active mainly in Bologna and Rome.
The National Gallery, Trafalgar Square, London WC2.
Lot and his Daughters leaving Sodom.
Guido Reni (1575-1642).
Oil on canvas, c1614-15.
Lot and his daughters are shown fleeing the sinful city of Sodom, forewarned by God of its destruction (Genesis 19). The family are in a moment of conversation, perhaps contemplating their next move. Conspicuously absent are details typically associated with the subject, such as Sodom burning in the background or elements of eroticism, alluding to the daughters' later seduction of their father (an attempt to continue their family’s bloodline). Instead, the trio are fully clothed, sober and chaste.
This painting was made around the time of Reni’s celebrated Aurora fresco in Rome, where he lived and worked for more than a decade; the statuesque figures and solid handling of paint are illustrative of the style that he had developed there. Since the mid-seventeenth century, this painting has been regarded as a companion piece to Susannah and the Elders (also in the National Gallery’s collection). Though similar in format and both illustrating moralising tales, the two were painted a few years apart, and were not originally intended as a pair.
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Reni was trained by Denys Calvaert, and then probably in the Carracci workshop. He spent 1602-13 in Rome, where Domenichino had also arrived. Reni is reputed to have met (and quarrelled with) Caravaggio there.
Many of his best known works were painted in Rome, including the ceiling fresco, 'Aurora' (Casino Rospigliosi), carried out before 1614 for Cardinale Scipione Borghese. By 1613 Reni had returned to Bologna, and was largely active there until his death. He ran a busy studio engaged on commissions from many Italian cities.
Artist | Ludovico Carracci (1555-1619 in Italy)
Title || Saint Anthony the Abbot Preaching to the Hermits (1615)
oil on canvas
320 x 210 cm
Exhibitor || Pinacoteca di Brera, Milan
pinacotecabrera.org/en/collezioni/collezione-on-line/sain...
This painting's almost excessive emotional charge, clearly visible in the peasant faces and gnarled feet of the figures in the foreground, together with the ruins, stark against the blue sky, the palm tree framing the composition, the strong chiaroscuro and the exceptionally free brushwork, all combine to make it emblematic of Ludovico's painting, which was on the verge of being supplanted by Guido Reni's scholarly classicism even in Bologna.
The National Gallery, Trafalgar Square, London WC2.
Saint John the Evangelist.
Domenichino (1581-1641).
Oil on canvas, late 1620s.
Saint John, the author of the fourth gospel, is depicted at a moment of revelation. His pen is arrested and he has turned from the books to raise his eyes toward the true source of his inspiration.
The eagle, the bird thought to fly closest to heaven, was the saint's attribute. The heroic, frontal pose was based on the painter's study of ancient sculpture.
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Domenico Zampieri, called Domenichino, was one of the main followers of Annibale Carracci. He had probably arrived in Rome by 1602, when Annibale was working in the Palazzo Farnese. Domenichino was important as a painter of classical landscape, following Annibale. The Gallery contains a series of frescoes on mythological themes that he painted for the Villa Aldobrandini at Frascati.
Domenichino was born in Bologna, and trained there under Ludovico Carracci. In Rome he was also influenced by the works of Raphael, as can be seen in his celebrated frescoes on the life of Saint Cecilia in S. Luigi dei Francesi, probably completed by 1614. He returned to Bologna in 1617, but was active again in Rome in the 1620s, before moving to Naples. Here he frescoed the Cappella del Tesoro of the cathedral in a more markedly Baroque style than his earlier work. He died in Naples in 1641.
Rijksmuseum - went with Clare, Carol and Stan. Stan didn't have a ticket and when we went to queue at the returned tickets office a very kind lady offered a free ticket as she didn't need it.
I love this gallery so much. It's really large and plenty of treasure. Although the theme , ''from raphael to carracci the art of papal rome'' , is't my favorite stage of art at first, the increased years from 1500 the increase of understanding. Rome, the caput mundi(Head of the world), is the fortress of the christian religion and kindly mother of literary talent.