Assunzione della vergine agostino carracci biography

San Pietro, studio preparatorio per la tavola dell'Assunzione, Royal Collection. Mani di apostolo, studio preparatorio per la tavola dell'Assunzione, Royal Collection. Panneggio della Vergine, studio preparatorio per la tavola dell'Assunzione, Royal Collection. Note [ modifica modifica wikitesto ]. Poco dopo Annibale avrebbe riproposto il tema in una mirabile piccola tavola acquistata dal cardinale Pietro Aldobrandini.

Studi di storia dell'arte in onore di Denis Mahon , Milano, , pp. Alcuni studi tuttavia ritengono di averne individuato una copia secentesca nella chiesa di Sant'Alberto a Siviglia. L'identificazione del quadro sivigliano nella copia della prima crocifissione di Pietro si deve a Maurizio Marini: si veda dello stesso autore Caravaggio «pictor praestantissimus» , Roma, ed.

II, N. Peter , in Rutgers Art Review , n. Voci correlate [ modifica modifica wikitesto ]. Altri progetti [ modifica modifica wikitesto ]. Altri progetti Wikimedia Commons. Collegamenti esterni [ modifica modifica wikitesto ]. Portale Pittura : accedi alle voci di Wikipedia che trattano di pittura. Categoria nascosta: Errori di compilazione del template Nota disambigua.

Felsina pittrice. Vite de' pittori bolognesi , Bologna, , I, p. Le pitture di Bologna ed. Emiliani , Bologna, , p. Benati, D. Catalogo generale eds. Bentini, G. Cammarota and D. Agostini, G. Annibale Carracci nella Pinacoteca Nazionale di Bologna ed. The thematic and compositional connections prove that the altarpiece was designed to be looked at as part of a larger ensemble and not as a standalone object.

The rather crowded composition is organized around a triad of figures: the Virgin rising from the empty tomb surrounded by a retinue of angels and the two apostles gazing upwards in awe. All three wear robes in bright primary colours: blue over red Mary , yellow over blue Peter and pink over green Paul. The remaining space around the sarcophagus is filled with nine other apostles, bringing their overall number to eleven.

Still neither ancient reliefs nor Raphael crowded their pictorial fields in this way", says Ann Sutherland Harris. The painting largely follows the iconographic tradition concerning the depiction of the Assumption in Western art. John the Evangelist on the left is portrayed as a beardless young man among the older and bearded apostles.

Assunzione della vergine agostino carracci biography

One member of the angelic retinue can be identified as Archangel Michael who lifted up Mary's body to heaven. An apostle on the right is looking at the grave linens and the roses that were found in the empty sarcophagus. Mary seems to be projecting forward rather than upwards. It is a device that compensates for the confined environment and the rather low position of the altar.

In this way, the Assumption meets the observer far beyond the narrow space of the Cerasi Chapel, ensuring its visibility from the transept, an ideal space for the continuation of Mary's motion. The dynamism, the emotional charge and the integration of the painting into real space are strongly innovative elements which make the panel unequaled among the contemporary altarpieces produced in Rome.

That Carracci took inspiration for the lighting - a strong spotlight effect giving a sculptural look to the forms - from Raphael, becomes clear if compare the figure of Saint Peter with the Saint Peter in the same location on the Transfiguration. The relationship between the paintings of Caravaggio and Carracci in the chapel is a perpetual subject of discussion in art history.

It seems probable that each artist "subtly altered his style of painting as a result of this direct confrontation with the other", and "Annibale's monumental saints, whose hands and feet seem to pierce the picture plane" may have influenced Caravaggio. Donald Posner termed his style in this period 'hyper-idealized'. The painting was not regarded among Carracci's best works by his two 17th-century biographers.

Giovanni Pietro Bellori only mentions it shortly when listing the late works of the artist while Carlo Cesare Malvasia is even more dismissive.