THE CARRACCI AND VENICE
Author | : Catherine Copp |
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Author | : Catherine Copp |
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Author | : conte Carlo Cesare Malvasia |
Publisher | : Penn State Press |
Total Pages | : 464 |
Release | : 2000 |
Genre | : Biography & Autobiography |
ISBN | : |
Ludovico, Agostino, and Annibale Carracci played leading roles in bringing about the changes in style and outlook that transformed the art of painting around 1600. Working both as a team and as individuals, they turned away from the conventions of Mannerism to reinvigorate the Renaissance tradition and usher in a new style, at once naturalistic, classical, and spirited. Malvasia's "Life of the Carracci" has been the principal source of knowledge about these pioneering artists since its first publication in 1678 in Felsina pittrice, vite de' pittori bolognesi. Malvasia, a law professor and a literary man, was brilliant, innovative, and contentious. His biography of the Carracci is pivotal to his celebration of the Bolognese contribution to Baroque art and provides a window onto the cultural life of seventeenth-century Italy. The worlds of artisans, artists, literati, and patrons intersect in his text, giving it incomparable historical and literary value Although Malvasia's "Life of the Carracci" is widely cited, this is the first translation in any language and the first to offer an extended critical and historical commentary. Malvasia's own life is discussed, and his triple biography of the Carracci is situated within the intellectual and literary currents to which he responded. Richly illustrated, Summerscale's book will be an indispensable resource for art historians and students of seventeenth-century literature and historiography.
Author | : Babette Bohn |
Publisher | : |
Total Pages | : 650 |
Release | : 2004 |
Genre | : Art |
ISBN | : |
The primary goal of Ludovico Carracci and the Art of Drawing is to provide a ground-breaking model for a new kind of book on Italian drawings. In addition to covering the traditional scholarly terrain of chronology, style, and connoisseurship, this book utilizes up-to-date art historical methods, including considerations of the historical context of Bologna, its impact on Ludovico's art, and a new portrayal of the role of women and women artists in the city. Bologna is perhaps the last great artistic capital in Europe that...still offers the specialist the possibility for ground breaking studies. This quotation from a recent exhibition at the Metropolitan Museum testifies to the rich possibilities for research in this field. In 1983, Sydney Freedberg wrote a book on the three pivotal innovators in Italian painting at the turn of the seventeenth century: Caravaggio, Annibale Carracci, and the latter's cousin Ludovico Carracci (1555-1619). The dramatic intensity of Ludovico's paintings exerted a seminal influence on the direction of Italian Baroque painting. His highly individual renditions of his subjects make him one of the great interpreters of Italian art. Working in Bologna, the second city of the papal states, during the period of the Counter Reformation, Ludovico was well positioned to reshape religious painting during a period that demanded change. Ludovico was a prolific draftsman who produced over 300 extant drawings. His drawings offer the key to his artistic personality, because he conceived his original subjects and planned his dramatic compositions in these sheets. Like most Italian artists of the early modern period, Ludovico developed his ideas in drawings and began painting only after his conceptions had been finalized. Thus his drawings reveal how he thought, how his ideas changed, and which features of a composition were most important or challenging to his creative imagination. Such drawings as these have tremendous appeal to modern audiences, who are attracted by the excitement of watching the creative process in progress, rather than seeing only the painting that represents the end of that process. The Carracci have always been considered some of the most important draftsmen in Italian art, for their revival of drawing the human figure from life in the course of designing paintings. But Ludovico's drawings were not only preparatory studies for pictures. He was also an innovator in developing finished compositional drawings that were produced as works of art in their own right, made for sale to a new audience of private collectors in Bologna. This book will be indispensable for university libraries, museum libraries, and the private libraries of all scholars, dealers, and collectors with a serious interest in Italian art. As a study of a major artist that breaks new methodological ground, the book will bring together fresh insights on the artist and his culture with a useful compendium of illustrations and will provide a model for future studies of draftsmen from the early modern period.
Author | : Anton Willem Adriaan Boschloo |
Publisher | : |
Total Pages | : 222 |
Release | : 1974 |
Genre | : Art and religion |
ISBN | : |
Author | : Sofia Pagani |
Publisher | : |
Total Pages | : 54 |
Release | : 2017-07-14 |
Genre | : |
ISBN | : 9781548911164 |
Brothers Annibale and Agostino along with their cousin Ludovico (1555-1619) worked collaboratively on art works and art theories pertaining to the Baroque style. The Carracci family left their legacy in art theory by starting a school for artists in 1582. The school was called the Accademia degli Incamminati, and its main focus was to oppose and challenge Mannerist artistic practices and principles in order to create art that was avant-garde with a new modernist edge. Agostino Carracci (1557 - 1602) was an Italian painter and printmaker. He was the brother of the more famous Annibale and cousin of Lodovico Carracci.He posited the ideal in nature, and was the founder of the competing school to the more gritty view of nature as expressed by Caravaggio. He was one of the founders of the Accademia degli Incamminati along with his brother, Annibale Carracci, and cousin, Ludovico Carracci. The academy helped propel painters of the School of Bologna to prominence.Agostino Carracci was born in Bologna, and trained at the workshop of the architect Domenico Tibaldi. Starting from 1574 he worked as a reproductive engraver, copying works of 16th century masters such as Federico Barocci, Tintoretto, Antonio Campi, Veronese and Correggio. He also produced some original prints, including two etchings.He travelled to Venice (1582, 1587-1589) and Parma (1586-1587). Together with Annibale and Ludovico he worked in Bologna on the fresco cycles in Palazzo Fava (Histories of Jason and Medea, 1584) and Palazzo Magnani (Histories of Romulus, 1590-1592). In 1592 he also painted the Communion of St. Jerome, now in the Pinacoteca di Bologna and considered his masterwork. From 1586 is his altarpiece of the Madonna with Child and Saints, in the National Gallery of Parma. In 1598 Carracci joined his brother Annibale in Rome, to collaborate on the decoration of the Gallery in Palazzo Farnese. From 1598-1600 is a triple Portrait, now in Naples, an example of genre painting. In 1600 he was called to Parma by Duke Ranuccio I Farnese to begin the decoration of the Palazzo del Giardino, but he died before it was finished.Agostino's son Antonio Carracci was also a painter, and attempted to compete with his father's Academy.Annibale Carracci (1560 - 1609) was an Italian painter, active in Bologna and later in Rome. Along with his brothers, Annibale was one of the progenitors, if not founders of a leading strand of the Baroque style, borrowing from styles from both north and south of their native city, and aspiring for a return to classical monumentality, but adding a more vital dynamism. Painters working under Annibale at the gallery of the Palazzo Farnese would be highly influential in Roman painting for decades.Annibale Carracci was remarkably eclectic in thematic, painting landscapes, genre scenes, and portraits, including a series of self-portraits across the ages. He was one of the first Italian painters to paint a canvas wherein landscape took priority over figures, such as his masterful The Flight into Egypt; this is a genre in which he was followed by Domenichino (his favorite pupil) and Claude Lorrain.Carracci's art also had a less formal side that comes out in his caricatures (he is generally credited with inventing the form) and in his early genre paintings, which are remarkable for their lively observation and free handling and his painting of The Beaneater. He is described by biographers as inattentive to dress, obsessed with work: his self-portraits vary in his depiction.
Author | : Diane DeGrazia |
Publisher | : Indiana University Press |
Total Pages | : 560 |
Release | : 1979 |
Genre | : Art |
ISBN | : |
Author | : Giovanni Pietro Bellori |
Publisher | : Penn State University Press |
Total Pages | : 152 |
Release | : 1968 |
Genre | : Art |
ISBN | : |
The decisive role of the Carracci in seventeenth-century art was as apparent to their contemporaries as it is now, in our own time. Annibale Carracci ranks directly after Caravaggio as the most important Italian painter of the Baroque era. He established the tradition of Roman baroque classicism so firmly that it flourished in an unbroken line--Carracci to Albani to Sacchi to Maratta--for more than a century. Generation after generation of artists came to Rome to study his frescoes in the Farnese Gallery, and his influence in the development of French neo-classicism is still being explored. The classical concept of the "composed landscape," largely his invention, was to prove of central importance, first to Poussin and later to Cezanne. The translation, the first into English, is from Bellori's Vite de' Pittori, Scultori ed Architetti Moderni published in Rome in 1672. A friend of Poussin, Bellori was librarian to Queen Christina of Sweden. Pope Clement X recognized his many works on ancient art (still of value today) by making him Antiquarian of Rome. Unlike many earlier and later art historians, Bellori did not attempt to write about all the artists of a given area or epoch, but selected only those he considered significant. Schlosser called him "the most important historian of art not just of Rome but of all Italy, indeed of Europe, in the seventeenth century."
Author | : Charles Dempsey |
Publisher | : |
Total Pages | : 128 |
Release | : 1977 |
Genre | : Painting, Baroque |
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Author | : Nicholas Turner |
Publisher | : |
Total Pages | : 476 |
Release | : 2008 |
Genre | : Architecture |
ISBN | : |
Helping to delight in the drawings of Caravaggio, Carracci, Michelangelo, Urbino, Tavarone, Vasari, Veronese, and others, this book looks at this key period in the development of drawing in Europe.
Author | : Donald Posner |
Publisher | : |
Total Pages | : 280 |
Release | : 1971 |
Genre | : Art |
ISBN | : |