Analysis of Annibale Carraccis Work - Essay Example

Annibale Carracci (1560-1609) Annibale Carracci is considered one of the greatest Italian sculptor and painters, who works was regarded as masterpiece at that time. Annibale is said to have always used a special kind of painting style that left different impressions on the viewers and people who requested to be made those special artworks. Annibale was born and lived in Bologna, where he is believed to have been apprenticed into painting by his family, which had been renowned for being the best in painting and sculpture works. After he learnt how to paint, Ludovico Carracci, his cousin, alongside his brother Agostino, made the first step towards commercializing their business by opening a studio, whose main function was to make and sell paintings to people that requested them. In their approach, the Carracci’s placed much attention on the typical Florentine style of linear draftsmanship, which was evident in some of the paintings like Andrea Del Sarto, which was done by Raphael. The interest in Carracci’s glimmering colors in their paintings, as well as development of mistier edges was an idea they borrowed from Venetian painters like Titian, whose works they studied in much of their travels. Some of the most famous paintings by Carracci are discussed and illustrated below A Domestic Scene This painting, one of the best that were done by Carracci is a depiction of a family life where a mother is shown as warning a nightgown of her so just besides a small fire in the room. The picture indicates a home that comprises of the mother together with her two children and a cat, who are looking on as the gown is warming. This painting is believed to be dating back to the 1580s, a time of its development. Carracci has been creative in managing to create a intimacy mood; in fact, this is the approach that Carracci and Ludovico have often used in most of their paintings and artwork. Annibale seem to have mastered the style of using a quick and inspired form of pale washes that appear watery on white surfaces. The use of this approach I very effective since it reveals magical results of tone in the painting, making it authentic and clear. According to this picture, the light from the fire can be described as a major protagonist as far as the composition is concerned. The use of wash by the artist in defining form ranks among the daring works of draftsmanship by Annibale, which indicates his self-confidence in his work. It is important to realize that the use of ink and pen together with the wash make a very permanent picture that one cannot easily erase. The lamentation This is believed to have been painted in 1582, and became the landmark in the paintings that were done by Carracci. The picture is a model of Christ, and was made based on model thought to be posed. This painting has been made using a directness, as well as acute shortage of the idealization of the events in the sixteenth century. It is these features that have made the painting attract a lot of criticisms. In this image, the right hand of Christ appears distorted as if it was broken when he removed from the cross that had been used in his crucifixion. Mary Magdalene has reverently cradled his left arm, which also appears to have dislocated. The Virgin Mary has been shown as a middle-aged plain woman instead of a beautiful young girl seems to have fainted on seeing Jesus, her son being laid pathetically on her laps. In this painting, Carracci has used light in bringing out the fact that this event is physically present. Light, from this painting, diffuses around the feet of Jesus, but have been shielded by Saint John, but falls with an increasing strength on the head and chest. When one examine this painting closely, the figure of Saint John, the virgin and the three Maries have notably been stylized to give the painting a very jarring composition. Two children teasing a cat This picture was done with spontaneity and a directness that resembles the nineteenth-century art. The picture is said to date back from about 1590, being among the very earliest genre paintings of Italy. As far as light is concerned, Carracci has ensure that the picture is quite similar to that of Paolo Veronese, whom he is believed to have studies a lot while on his trip headed to Venice. This picture can also be seen to bring a very moralizing lesson, which is the same as that of a child playing with fire, because playing with a cat, one is certainly to be scratched with pain.This picture belonged to Ranuzzi’s family in Bologna, where it is said to have very common. It was later purchased by cardinal Ruffo Tommaso St John the Baptist beating witness Alongside Rubens and Caravaggio, Carracci is believed to have been among the best creative geniuses when it came to Baroque paintings. Besides his painting achievements in altarpieces and Fresco cycles, Carracci began the Vogue, which he used in the construction of landscapes. Here, nature was often transformed into idealistic settings for mythical or biblical stories. For this painting, the key theme was derived from John 1:29 in the Bible, where John the Baptist saw Jesus coming to be Baptist in the Jordan and shouted to the whole world that the lamb which washes away people’s sins had arrived. This picture was the most adored by the Roman Catholic Church faithfuls, who described it as a true representation of the beginning of Jesus work on earth. Omnia Vincit Amor This image is a representation of a pun, which has been derived from the famous line of Virgil’s tenth Enclogue that “love conquers everything.” The word Omnia, which is Latin simply means “all” just like pan, the Greek word. On the other hand, Amor, another Latin word which is Cupid’s name means “love.” In this understanding, the victory that Cupid has with a woodland god in their combat makes a suitable visual translation of this phrase. The engraving for the painting was made at the time Agostino is believed to have been helping his brother in decorating the famous Farnese Gallery, which is part of the Fresco cycle, which has its theme a being the rule of love on the universe. Prior to this painting Carracci had painted Cupid in his successful wrestling with pan, in one of the most simulated medallions, which adorn most of the Farnese ceilings. The main subject was not very knew since it had become part of the decorations used by Cardinal Stufetta Bibbiena in 1516; it is also believed to have appeared again in many of the emblem books of the Sixteenth century. Read More