Annibale Carracci

Widely regarded as one of the greatest draughtsmen of all time, Annibale Carracci (1560-1609) is celebrated for his naturalism. Born in a time when the elegant deformations and exaggerations of Italian mannerism were still in vogue, Carracci turned instead to nature as his principal inspiration. Much attuned to the everyday world around him, he took as much interest in studying a man bowling, a butcher weighing a piece of meat, or a street entertainer with his monkey as he did in the preparatory studies for his grand mythological and religious paintings. The fruit of this intensive study is abundantly evident in his magnificent drawings of the human figure - from his early works in Bologna to those made in preparation for his greatest commission, the decoration of the Farnese Gallery in Rome. This stunning publication brings together a plethora of Carracci's masterful drawings to provide a unique insight into the technique and skill of one of the premier artists of his time.

Annibale Carracci (1560-1609) fu una delle figure chiave (1560-1609) nello sviluppo dell'arte barocca italiana, e tuttavia la sua arte può sembrare problematica per diversi aspetti. Questo volume analizza la sua carriera dagli esordi a Bologna fino alle opere successive a Roma, il cui apice è raggiunto con il suo capolavoro, gli splendidi affreschi della Galleria Farnese. Il volume indaga inoltre il linguaggio religioso fortemente espressivo che sviluppò nelle pale d'altare, adeguate espressioni dei princìpi della Contro-Riforma, e i suoi importanti contributi all'evoluzione del paesaggio classico. Annotation Supplied by Informazioni Editoriali

This catalog accompanied the exhibition at the Museo Nacional del Prado of the newly restored Venus, Adonis and Cupid by Annibale Carracci and of paintings of the same subject by Titian and Veronese. In addition to reproductions of these gorgeous paintings, the catalog includes drawings and prints related to Carracci's work as well as documentation

Helping to delight in the drawings of Caravaggio, Carracci, Michelangelo, Urbino, Tavarone, Vasari, Veronese, and others, this book looks at this key period in the development of drawing in Europe.

The most famous achievement of Annibale Carracci (1560-1609) is his celebrated series of frescoes in the Palazzo Farnese in Rome (1596-1604). The unveiling of the Galleria Farnese's ceiling led to a growing stream of artistic commissions from Cardinal Farnese and other patrons, all eager to secure works by the artist. However, the severe mental and physical breakdown that Annibale suffered in early 1605 made it impossible for him to undertake new projects, and few works are known from the last years of his life other than some etchings and some remarkable-and too often underrated-drawings. This publication aims to take a fresh look at these late drawings of one of Italy's foremost draftsmen, highlighting some well-known works as well as other, less familiar sheets from the Morgan and elsewhere.

The decisive role of the Carracci in seventeenth-century art was as apparent to their contemporaries as it is now, in our own time. Annibale Carracci ranks directly after Caravaggio as the most important Italian painter of the Baroque era. He established the tradition of Roman baroque classicism so firmly that it flourished in an unbroken line--Carracci to Albani to Sacchi to Maratta--for more than a century. Generation after generation of artists came to Rome to study his frescoes in the Farnese Gallery, and his influence in the development of French neo-classicism is still being explored. The classical concept of the "composed landscape," largely his invention, was to prove of central importance, first to Poussin and later to Cezanne. The translation, the first into English, is from Bellori's Vite de' Pittori, Scultori ed Architetti Moderni published in Rome in 1672. A friend of Poussin, Bellori was librarian to Queen Christina of Sweden. Pope Clement X recognized his many works on ancient art (still of value today) by making him Antiquarian of Rome. Unlike many earlier and later art historians, Bellori did not attempt to write about all the artists of a given area or epoch, but selected only those he considered significant. Schlosser called him "the most important historian of art not just of Rome but of all Italy, indeed of Europe, in the seventeenth century."

Annibale Carracci (1564-1609) was a revolutionary artist. Early in his career he challenged convention by investing his art with a sense of naturalism & 'The Butcher's Shop' is a fine example of his new & exciting style.

"Demographic and technological trends have yielded new forms of work that are increasingly more precarious, globalized, and brand centered. Some of these shifts have led to a marked decrease in the visibility of work or workers. This edited collection examines situations in which technology and employment practices hide labor within the formal paid labor market, with implications for workplace activism, social policy, and law. In some cases, technological platforms, space, and temporality hide workers and sometimes obscure their tasks as well. In other situations, workers may be highly visible--indeed, the employer may rely upon the workers' aesthetics to market the branded product--but their aesthetic labor is not seen as work. In still other cases, the work occurs within a social interaction and appears as leisure--a voluntary or chosen activity--rather than as work. Alternatively, the workers themselves may be conceptualized as consumers rather than as workers. Crossing the occupational hierarchy and spectrum from high- to low-waged work, from professional to manual labor, and from production to service labor, the authors argue for a broader understanding of labor in the contemporary era. This book adopts an interdisciplinary approach that integrates perspectives from law, sociology, and industrial/labor relations"--Provided by publisher.