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.
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.
Domenico Zampieri, known by the diminutive Domenichino after his shortness, was an Italian Baroque painter of the Bolognese School of painters.
Francesco Albani or Albano was an Italian Baroque painter who was active in Bologna (1591–1600), Rome (1600–1609), Bologna (1609), Viterbo (1609–1610), Bologna (1610), Rome (1610–1617), Bologna (1618–1660), Mantova (1621–1622), Roma (1623–1625) and Florence (1633).
Giovanni Pietro Bellori, also known as Giovan Pietro Bellori or Gian Pietro Bellori, was an Italian painter and antiquarian, but, more famously, a prominent biographer of artists of the 17th century, equivalent to Giorgio Vasari in the 16th century. His Lives of the Artists, published in 1672, was influential in consolidating and promoting the theoretical case for classical idealism in art. «Bellori is the "predecessor of Winckelmann" not only as an antiquarian but also as an art theorist. Winckelmann's theory of the "ideally beautiful" as he expounds it in Geschichte der Kunst des Altertums, IV.2.33 ff., thoroughly agrees—except for the somewhat stronger Neoplatonic impact, which is to be explained perhaps more as an influence of Raphael Mengs than as an influence of Shaftesbury—with the content of Bellori's Idea ; he frankly recognizes this indebtedness in Anmerkungen zur Geschichte der Kunst des Altertums (1767), p. 36.» As an art historical biographer, he favoured classicising artists rather than Baroque artists to the extent of omitting some of the key artistic figures of 17th-century art altogether.
Domine, quo vadis? is a 1602 painting by the Italian Baroque painter Annibale Carracci (1560–1609), depicting a scene from the apocrypha Acts of Peter. It is housed in the National Gallery, where it is given the title Christ appearing to Saint Peter on the Appian Way. The subject is a rare representation in art of the theme Quo vadis. Annibale Carracci was the founder of the Italian Baroque painting school, called Bolognese School. This painting is one of his best known works. Peter is depicted fleeing Rome to avoid crucifixion and has a vision of meeting Christ bearing his Cross. Peter asks Jesus "Quo vadis?" to which he replies, "Romam vado iterum crucifigi". Peter returns to Rome after this vision.
Fishing is a painting by Italian artist Annibale Carracci, painted before 1595 and given to Louis XIV by Prince Camillo Pamphili in 1665. It is currently held and exhibited at the Louvre in Paris.
Hunting is a painting by Italian artist Annibale Carracci, painted before 1595 and given to Louis XIV by Prince Camillo Pamphili in 1665. It is currently held and exhibited at the Louvre in Paris.
The Carracci were a Bolognese family of artists that played an instrumental role in bringing forth the Baroque style in painting. Brothers Annibale (1560–1609) and Agostino (1557–1602) along with their cousin Ludovico (1555–1619) worked collaboratively. The Carracci family left their legacy in art theory by starting a school for artists in 1582. The school was called the Accademia degli Incamminati, and its main focus was to oppose and challenge Mannerist artistic practices and principles in order to create a renewed art of naturalism and expressive persuasion.
Giovanni Battista Agucchi was an Italian churchman, Papal diplomat and writer on art theory. He was the nephew and brother of cardinals, and might have been one himself if he had lived longer. He served as secretary to the Papal Secretary of State, then the Pope himself, on whose death Agucchi was made a titular bishop and appointed as nuncio to Venice. He was an important figure in Roman art circles when he was in the city, promoting fellow-Bolognese artists, and was close to Domenichino in particular. As an art theorist he was rediscovered in the 20th century as having first expressed many of the views better known from the writings of Gian Pietro Bellori a generation later. He was also an amateur astronomer who corresponded with Galileo.
Pietà is a c. 1600 oil on canvas painting by Annibale Carracci, the earliest surviving work by him on the subject, which was commissioned by Odoardo Farnese. It moved from Rome to Parma to Naples as part of the Farnese collection and is now in the National Museum of Capodimonte in Naples. It is one of many 16th century Bolognese paintings dedicated to the theme of the Pietà, and it is counted among Carracci's masterpieces.
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.
Christ in Glory with Saints and Odoardo Farnese or 'Christ in Glory with Odoardo Farnese and Saints Peter, John the Evangelist, Mary Magdalene, Hermenegild and Edward is a painting by Annibale Carracci. Placed in the Eremo di Camldoli either early in its life or straight after its creation, at the end of the 17th century Ferdinando II de' Medici moved it to the Galleria Palatina in Florence, where it still hangs.
The Palazzo Sampieri frescoes are a set of paintings by Annibale, Agostino and Ludovico Carracci in the Palazzo Sampieri in Bologna. They form the last surviving collection of works by the three artists.
An Allegory of Truth and Time is a 1584-1585 oil on canvas painting by Annibale Carracci, now on display in Hampton Court as part of the Royal Collection.
The Baptism of Christ is a painting by Annibale Carracci.
Christ Crowned with Thorns or Christ Mocked is a 1598-1600 oil on canvas painting by Annibale Carracci, now at the Pinacoteca Nazionale di Bologna.
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.
Christ Appearing to Saint Anthony Abbot or The Temptation of Saint Anthony is a 1598-1600 oil on copper painting of Anthony the Great by Annibale Carracci. It was acquired in the 19th century by an English collector and bought in 1846 by the National Gallery, London, where it still hangs.
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".
