Agostino Carracci was an Italian painter, printmaker, tapestry designer, and art teacher. He was, together with his brother, Annibale Carracci, and cousin, Ludovico Carracci, one of the founders of the Accademia degli Incamminati in Bologna. Intended to devise alternatives to the Mannerist style favored in the preceding decades, this teaching academy helped propel painters of the School of Bologna to prominence.
Annibale Carracci was an Italian painter and instructor, active in Bologna and later in Rome. Along with his brother and cousin, 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.
The Assumption of Mary is one of the four Marian dogmas of the Catholic Church. Pope Pius XII defined it on 1 November 1950 in his apostolic constitution Munificentissimus Deus as follows:
We pronounce, declare, and define it to be a divinely revealed dogma: that the Immaculate Mother of God, the ever-Virgin Mary, having completed the course of her earthly life, was assumed body and soul into heavenly glory.
Guido Reni was an Italian Baroque painter, although his works showed a classical manner, similar to Simon Vouet, Nicolas Poussin, and Philippe de Champaigne. He painted primarily religious works, but also mythological and allegorical subjects. Active in Rome, Naples, and his native Bologna, he became the dominant figure in the Bolognese School that emerged under the influence of the Carracci.
LudovicoCarracci was an Italian, early-Baroque painter, etcher, and printmaker born in Bologna. His works are characterized by a strong mood invoked by broad gestures and flickering light that create spiritual emotion and are credited with reinvigorating Italian art, especially fresco art, which was subsumed with formalistic Mannerism. He died in Bologna in 1619.
Domenico Zampieri, known by the diminutive Domenichino after his shortness, was an Italian Baroque painter of the Bolognese School of painters.
Giacomo Cavedone was an Italian Baroque painter of the Bolognese School.
Illusionistic ceiling painting, which includes the techniques of perspective di sotto in sù and quadratura, is the tradition in Renaissance, Baroque and Rococo art in which trompe-l'œil, perspective tools such as foreshortening, and other spatial effects are used to create the illusion of three-dimensional space on an otherwise two-dimensional or mostly flat ceiling surface above the viewer. It is frequently used to create the illusion of an open sky, such as with the oculus in Andrea Mantegna's Camera degli Sposi, or the illusion of an architectural space such as the cupola, one of Andrea Pozzo's frescoes in Sant'Ignazio, Rome. Illusionistic ceiling painting belongs to the general class of illusionism in art, designed to create accurate representations of reality.
Giovanni Lanfranco was an Italian Baroque painter.
Carlo Maratta or Maratti was an Italian Baroque painter and draughtsman, active principallly in Rome where he was the leading painter in the second half of the 17th century. He was a fresco and canvas painter who painted in a wide range of genres, including history and portrait painting. He is the leading representative of the classicizing style in the Italian Late Baroque. He worked for prominent clients in Rome, including various popes.
Scarsellino or Ippolito Scarsella was an Italian mid-to-late sixteenth century reformist painter and one of the most important representatives of the School of Ferrara. His landscapes of both sacred and secular themes strongly anticipate the landscape painting traditions of the 17th century.
The Cerasi Chapel or Chapel of the Assumption is one of the side chapels in the left transept of the Basilica of Santa Maria del Popolo in Rome. It contains significant paintings by Michelangelo Merisi da Caravaggio and Annibale Carracci, two of the most important masters of Italian Baroque art, dating from 1600 to 1601.
The Assumption of the Virgin Mary does not appear in the New Testament, but appears in apocryphal literature of the 3rd and 4th centuries, and by 1000 was widely believed in the Western Church, though not made formal Catholic dogma until 1950. It first became a popular subject in Western Christian art in the 12th century, along with other narrative scenes from the Life of the Virgin, and the Coronation of the Virgin. These "Marian" subjects were especially promoted by the Cistercian Order and Saint Bernard of Clairvaux.
Events from the year 1601 in art.
The Beaneater is a painting by the Italian Baroque painter Annibale Carracci. Dating from 1580 to 1590, it is housed in the gallery of Palazzo Colonna of Rome.
Butcher's Shop is the title of two paintings by the Italian Baroque painter Annibale Carracci, both dating from the early 1580s. They are now in the collections of Christ Church Picture Gallery, Oxford, and the Kimbell Art Museum in Fort Worth, Texas.
Charles Audran (1594–1674) was a French engraver.
The Assumption of the Virgin by Annibale Carracci is the altarpiece of the famous Cerasi Chapel in the church of Santa Maria del Popolo in Rome. The large panel painting was created in 1600–1601. The artwork is somewhat overshadowed by the two more famous paintings of Caravaggio on the side walls of the chapel: The Conversion of Saint Paul on the Road to Damascus and The Crucifixion of Saint Peter. Both painters were important in the development of Baroque art but the contrast is striking: Carracci's Virgin glows with even light and radiates harmony, while the paintings of Caravaggio are dramatically lit and foreshortened.
The Dead Christ Mourned is an oil painting on canvas of c. 1604 by Annibale Carracci. It was in the Orleans Collection before arriving in Great Britain in 1798. In 1913 it was donated to the National Gallery, London, which describes it as "perhaps the most poignant image in [its] collection of the pietà – the lamentation over the dead Christ following his crucifixion – and one of the greatest expressions of grief in Baroque art".
