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The Assumption of the Virgin is narrated in a late legend, inspired by the Prophet Elias`s vision and by the Ascension of Christ. It was only declared an article of faith in 1950, after centuries during which belief in it was considered a question of personal piety. According to this legend, after her death the Virgin was carried to heaven by angels in the presence of the Apostles. Unlike Christ,
Venus, the Roman goddess of Love and Beauty, is accidentally wounded by one of her son Cupid´s arrows, which triggers her passion for Adonis. This love story ends with the tragic death of the hero. The scene is based on book X of Ovid´s Metamorphoses, one of the most important sources of mythology for artists of that time. The composition and pictorial technique in this work are a fine
This late work whose composition recalls those of Raphael, is listed in the 1746 inventory of the La Granja Palace as a panel by Aníbal Caracho’s [sic.] hand, Our Lady sitting on the ground with the Infant Jesus on her lap and Young Saint John alongside, one third [of a rod] in diameter. Born in Bologna in 1650, Anibal Carracci was the younger brother of Agostino and cousin of Ludovico. In
Annibale Carracci painted these works without previous cartoons as part of a group for the chapel of San Diego de Alcalá at the Church of San Giacomo degli Spagnoli in Rome. This church’s founder, don Diego de Herrera, commissioned Albani and Carracci to paint these works, for which the latter supplied all of the drawings. Badalocchio and Lanfranco were also involved. King Ferdinand VII had
Annibale Carracci painted these works without previous cartoons as part of a group for the chapel of San Diego de Alcalá at the Church of San Giacomo degli Spagnoli in Rome. This church’s founder, don Diego de Herrera, commissioned Albani and Carracci to paint these works, for which the latter supplied all of the drawings. Badalocchio and Lanfranco were also involved. King Ferdinand VII had
Annibale Carracci painted these works without previous cartoons as part of a group for the chapel of San Diego de Alcalá at the Church of San Giacomo degli Spagnoli in Rome. This church’s founder, don Diego de Herrera, commissioned Albani and Carracci to paint these works, for which the latter supplied all of the drawings. Badalocchio and Lanfranco were also involved. King Ferdinand VII had
Annibale Carracci painted these works without previous cartoons as part of a group for the chapel of San Diego de Alcalá at the Church of San Giacomo degli Spagnoli in Rome. This church’s founder, don Diego de Herrera, commissioned Albani and Carracci to paint these works, for which the latter supplied all of the drawings. Badalocchio and Lanfranco were also involved. King Ferdinand VII had
Annibale Carracci established the early Baroque style in Italy with Caravaggio (1571-1610). Annibale`s naturalistic style was based on the Antique and on Raphael, and unlike Caravaggio`s sombre realism, continued the representational tradition of the Italian Renaissance. Annibale`s style evolved in Bologna, where he worked together with his brother Agostino (1557-1602) and their cousin Ludovico. I
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