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| Assumption of the Virgin | |
|---|---|
 | |
| Artist | Annibale Carracci |
| Year | 1590 |
| Medium | Oil on canvas |
| Dimensions | 130 cm× 97 cm(51 in× 38 in) |
| Location | Museo del Prado, Madrid |
The Assumption of the Virgin is a painting by the Italian Baroque artist Annibale Carracci which was completed in 1590 and is now in the Museo del Prado in Madrid. The same subject was depicted by Carracci on the altarpiece of the famous Cerasi Chapel in Rome.
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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. This teaching academy promoted the Carracci emphasized drawing from life. It promoted progressive tendencies in art and was a reaction to the Mannerist distortion of anatomy and space. The academy helped propel painters of the School of Bologna to prominence.
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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.
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Carlo Maratta or Maratti was an Italian painter, active mostly in Rome, and known principally for his classicizing paintings executed in a Late Baroque Classical manner. Although he is part of the classical tradition stemming from Raphael, he was not exempt from the influence of Baroque painting and particularly in his use of colour. His contemporary and friend, Giovanni Bellori, wrote an early biography on Maratta.
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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 Bean eater is a painting by the Italian Baroque painter Annibale Carracci. Dating from 1580–1590, it is housed in the gallery of Palazzo Colonna of Rome.
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Charles Audran (1594–1674) was a French engraver.
DenisCalvaert was an Antwerp-born Flemish painter, who lived in Italy for most of his life, where he was known as Dionisio Fiammingo or simply Il Fiammingo. Calvaert was a profound student of architecture, anatomy, and history. His works are characterized by their advanced composition and colouring.
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.
Crucifixion with Saints or Crucifixion with Mourners and Saints Bernardino of Siena, Francis of Assisi and Petronius is a 1583 oil on canvas, now in the church of Santa Maria della Carità in Bologna. The work was originally sited in the Macchiavelli chapel in San Nicolò di San Felice, Bologna, next to Santa Maria della Carità, which was destroyed by bombing during the Second World War. It was then temporarily moved to the Soprintendenza di Bologna and finally to its current home.
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".
