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| Self Portrait with Father and Nephew Antonio oil in canvas (size not found) Pinacoteca di Brera, Milan |
"Neither clean nor well-dressed, with his collar askew, his hat jammed on any old way and his unkempt beard, Annibale Carracci seemed to be like an ancient philosopher, absent-minded and alone," wrote an early biographer. A tailor's son, Carracci considered himself a craftsman, not a courtier, but the Romans buried him in the Pantheon beside Raphael.
Along with his older brother Agostino and his cousin Lodovico, Annibale founded the Accademia degli Incamminati (Academy of the Progressives) in Bologna, which focused on naturalism and rejected Mannerism. There they revived the practice of working from life, focusing on the craft of art rather than the elegant life of court painters. The Carracci were tireless observers. Scholars credit Annibale with teaching caricature and helping to revive the process of creating extensive preparatory drawings for paintings.
Between 1597 and 1601, Carracci worked on the gallery ceiling of the Palazzo Farnese in Rome, his most important legacy. Conceiving the ceiling as open to the sky, he painted its mythological love scenes as framed easel pictures within an illusionistic framework. After receiving a paltry five hundred lire for this extensive decoration, he suffered a breakdown. A prolific draftsman, Carracci derived his heroic figure style from antique sculpture and Michelangelo and Raphael's art, but he added a richness and buoyancy from his copious studies from life. He originated the "ideal landscape," with figures, buildings, and nature in perfect balance, a nature tamed and ennobled by man's presence.
J.Paul Getty Museum, Los Angeles
This is part 4 of a 6-part series on the works of Annibale Carracci:
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| c1594 Samson in Chains oil on canvas 180 x 130 cm Galleria Borghese, Rome |
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| after 1595 The Coronation of the Virgin oil on canvas 117 x 141.3 cm Metropolitan Museum of Art, New York |
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| 1595 Landscape with Man Sleeping beneath Tree (recto) pen and brown ink on cream laid paper 30.4 x x 22.5 cm Art Institute of Chicago, IL |
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| 1595 Landscape with a Horseman (verso of the above) pen and brown, purple, red, and green inks on cream laid paper 22.5 x 30.4 cm Art Institute of Chicago, IL |
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| 1595 Venus and Adonis oil on canvas 217 x 246 cm Kunsthistorisches Museum, Vienna |
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| 1595-97 Hercules Resting black chalk heightened with white, squared in black chalk on right, incised (edges of figure) 35.5 x 52.4 cm The Cleveland Museum of Art, Ohio |
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| 1595-97 Study of Hercules Resting black chalk, heightened with white chalk, on blue laid paper 25.9 x 39.5 cm Art Institute of Chicago, IL |
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| c1595-97 Study for The Choice of Hercules (aka Heracles) pen and brown ink over traces of red chalk on beige laid paper 22.3 x 19.3 cm Princeton University Art Museum, NJ |
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| c1596 The Choice of Hercules (aka Heracles) oil on canvas 167 x 273 cm Museo Nazionale di Capodimonte, Naples |
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| 1595-1605 The Cyclops Polyphemus fresco Palazzo Farnese, Rome (see below) |
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| 1595-1605 The Cyclops Polyphemus fresco Palazzo Farnese, Rome |
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| c1596 A Helmsman black and traces of white chalk on grey paper 22.3 x 45.9 cm © The Trustees of the British Museum, London |
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| early 1600s Erminia takes Refuge with the Shepherds oil on canvas 147.3 x 214.6 cm The National Gallery, London |
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| 1601-02 Christ appearing to Saint Peter on the Appian Way (Domine, Quo Vadis?) oil on wood panel 77.4 x 56.3 cm The National Gallery, London |
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| 1602 Flying Cupid red chalk on beige laid paper 14 x 14.5 cm The Cleveland Museum of Art, Ohio |
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| 1602-03 Sleeping Venus oil on canvas 190 x 328 cm Musée Condé Château de Chantilly, Oise, France |
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| 1602-07 Pietà with Saint Francis and Mary Magdalen oil on canvas 277 x 186 cm Louvre, Paris |
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| 1603 The Flight into Egypt oil on canvas 122 x 230 cm Galleria Doria Pamphilj, Rome |
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| 1603-04c Christ in Glory with the Virgin, Saint John the Baptist and Saint Michael brown ink over black chalk on cream antique laid paper 25 x 19 cm Harvard Art Museums/Fogg Museum, MA Photo © President and Fellows of Harvard College |
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| c1603 Pietà with two Angels oil on copper 41 x 60.8 cm Kunsthistorisches Museum, Vienna |
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| 1604-05 Saint Didacus of Alcalá receiving Alms mural transferred to canvas 126 x 223.5 cm © Museo Nacional del Prado, Madrid |
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| 1604-05 Saint Francis fresco transferred to canvas 151 x 103.3 cm © Museo Nacional del Prado, Madrid |
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| 1604-05 Saint Lawrence fresco transferred to canvas 152.5 x 104 cm © Museo Nacional del Prado, Madrid |
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| c1604-05 Christ and the Samaritan Woman at the Well oil? on canvas 60.5 x 146 cm Kunsthistorisches Museum, Vienna |
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| c1604-05 Christ and the Samaritan woman at the Well detail of the above |
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| c1604 Rest on the Flight into Egypt oil on canvas 82.5 cm diameter The State Hermitage Museum, St Petersburg, Russia |
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| c1604 The Dead Christ Mourned ('The Three Maries') oil on canvas 92.8 x 103.2 cm The National Gallery, London |
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| c1605-08 Landscape with setting Sun pen and brown ink on paper 27.2 x 42.8 cm © The Trustees of the British Museum, London |
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| c1605 Landscape with a Watermill pen and iron-gall ink over red chalk, later black ink border 16.5 x 14.3 cm (sheet) National Gallery of Victoria, Melbourne, Australia |
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| 1606 Christ Crowned with Thorns etching 18 x 13.4 cm Museum of Fine Arts, Boston, MA |
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| 1606 Madonna and Child with Saints Elizabeth and John the Baptist engraving and etching in black on ivory laid paper 12.5 x 16.2 cm (image) Art Institute of Chicago, IL |
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| 1606 The Adoration of the Shepherds etching and engraving on laid paper 10.8 x 13.2 xm (plate) National Gallery of Art, Washington, DC Note: The remainder of works in this series are not dated but are all before 1609: |
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| before 1609 The Madonna suckling the infant Christ black chalk on paper 17.4 x 12.9 cm (auction house) |
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| The Madonna suckling the infant Christ engraving on paper 15.4 x 13.2 cm |
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| Landscape with Jacob Sleeping pen and two tones of brown ink, brush and grey-brown wash 41.4 x 26.3 cm The Metropolitan Museum of Art, New York |
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A Dove, study of drapery and a leg black and white chalk on grey-brown paper 22.8 x 40.1 cm © The Trustees of the British Museum, London |
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| A flying Putto with a Bow red chalk on paper 14.5 x 9.1 cm © The Trustees of the British Museum, London |
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| A half-length Male pen and brown ink on paper 8.9 x 5.9 cm © The Trustees of the British Museum, London |
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