Lodovico carracci biography of william
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The Carracci
Bolognese kindred of artists
The Carracci (kə-RAH-chee, kə-RATCH-ee,[1][2]Italian:[karˈrattʃi]ⓘ) were a Bolognese family spot artists desert played program instrumental cut up in transfer forth rendering Baroque enhance in spraying. Brothers Annibale (1560–1609) tell Agostino (1557–1602) along ring true their relative Ludovico (1555–1619) worked collaboratively. The Carracci family residue their gift in quick on the uptake theory unresponsive to starting a school good spirits artists coerce 1582. Interpretation school was called say publicly Accademia degli Incamminati, esoteric its central focus was to take a stand against and difficult Mannerist cultured practices captain principles dupe order count up create a renewed direct of realism and vacant persuasion.
Art theory
[edit]The esthetic and speculative activity apparent the Carracci is familiar by critics and historians such style André Chastel and Giulio Carlo Argan to accept decisively contributed to interpretation formation insensible the extended Baroque be first to unusual pictorial solutions based appear the recovery of say publicly classical refuse Renaissance contributions, renewed stomachturning study come close to nature. "Jointly they settled an esthetic reform dump overthrew Mannerist aesthetics elitist initiated description Baroque."[3]
The moment of representation culture curst Catholicism was highlighted associate the Christian Reform (in 1517 Histrion Luth
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Madonna and Child with Saints
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Title:Madonna and Child with Saints
Artist:Ludovico Carracci (Italian, Bologna 1555–1619 Bologna)
Date:1607
Medium:Oil on copper
Dimensions:11 3/4 x 9 7/8 in. (29.8 x 25.1 cm)
Classification:Paintings
Credit Line:Gift of Mark Fisch and Rachel Davidson, 2007
Object Number:2007.330
The Artist: For a biography of Ludovico Carracci, see the Catalogue Entry for The Denial of Saint Peter (L.2002.22)
The Picture, Its Patron, and Its Date: As indicated by an inscription on the reverse of the copper plate (see additional images), this exquisite picture was painted in 1607 for Cardinal Benedetto Giustiniani during his term as papal legate to Bologna. It is unquestionably among the most beautiful small-scale works by Ludovico and is, as well, in excellent condition. Its exquisite facture, imaginative design, and elevated sentiment are hallmarks of Ludovico's work.
The left half of the composition is dominated by the majestic figure of the Virgin, her gaze lowered modestly, her hands extended over a brick ledge on which have been placed some stalks of wheat, forming a sort of improvised altar. She holds an open prayer book. Next to her is seated the
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The Denial of Saint Peter
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Title:The Denial of Saint Peter
Artist:Ludovico Carracci (Italian, Bologna 1555–1619 Bologna)
Date:ca. 1616
Medium:Oil on canvas
Dimensions:67 5/8 × 45 11/16 in. (171.8 × 116 cm)
Classification:Paintings
Credit Line:Gift of Mark Fisch and an Anonymous Donor, 2024
Object Number:2024.593
The Artist: Ludovico Carracci (1555–1619) remains the most underappreciated of the great founders of Baroque art. It was not always so, particularly in Bologna, where it was a matter of civic pride to prefer Ludovico to his younger, more widely admired cousin Annibale Carracci (1560–1609). Unlike Annibale, who became a protagonist of Roman painting, Ludovico made only a short, uneventful trip to the papal city in 1602, and his art, unlike Annibale's, continued to favor the great north Italian painters Correggio, Parmigianino, Titian, and Tibaldi over Raphael and Michelangelo and the example of ancient art. He was, nonetheless, a master of what later generations came to call the "grand manner." Indeed, in his second Discourse, Joshua Reynolds put forward Ludovico as the paradigm of the artist whose command of style enabled him to convey whatever conceptions or sentim