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The Agony in the Garden
Oil on canvas. Ca. 1590
Carracci, Ludovico
The Agony in the Garden
Oil on canvas. Ca. 1590
Carracci, Ludovico

The Apostles sleep in the foreground, indifferent to the suffering of Christ who is attended by angels. One holds a chalice, prefiguring the Passion. The artist looked to Correggio (c. 1489-1534) in the treatment of the figures and folds of the drapery, which have details characteristic of a miniature. The canvas was in the Roman collection of the painter Carlo Maratta (1625-1713) and was acquired

Saint Francis and Two Angels
Oil on canvas. Early Finales del siglo XVI - XVII century
Carracci, Ludovico (Attributed To)
Saint Francis and Two Angels
Oil on canvas. Early Finales del siglo XVI - XVII century
Carracci, Ludovico (Attributed To)

This painting represents a passage from the life of Saint Francis of Assisi and is attributed to Ludovico Carracci. Saint Francis appears dressed in a coarse brown habit. He appears kneeling before two angels, one of whom carries a cup and shows it to the saint. The other one bends down to offer a chasuble that the saint seems to reject, a reference to his humility.

Saint Francis of Assisi in the Portiuncula
Oil on canvas. 1601 - 1603
Carracci, Ludovico
Saint Francis of Assisi in the Portiuncula
Oil on canvas. 1601 - 1603
Carracci, Ludovico

Saint Francis is one of the most venerated of all Christian saints. Born in 1182, he chose a religious life after a youth filled with empty pleasures and frolicking. He was followed by a considerable number of disciples, who congregated in Portiuncula, a small hermitage in the foothills of Assisi where Francis spent most of his life, and where he died in 1226. Portiuncula is also the site of the m

The Virgin and Child enthroned appearing to ten saints
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. 1607 - 1610
Carracci, Ludovico
The Virgin and Child enthroned appearing to ten saints
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. 1607 - 1610
Carracci, Ludovico

The traditional attribution to Poccetti (1548-1612) is unconvincing, if one compares the conception and execution of the present study with that of the especially fine Poccetti drawing (D01745). Indeed, the delicacy of touch and the elegant compositional structure point rather to Ludovico Carraci´s late style of drawing. Among the many examples in pen-and-wash that come close in handling to the Pr

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