National Gallery of Art

National gallery of Art

Deborah Ziska, Information Officer

FOR IMMEDIATE RELEASE CONTACT: (202) 842-6353 August 2, 1999 Patricia O'Connell, Publicist

POWERFUL AND EVOCATIVE MASTER DRAWINGS BY ANNIBALE CARRACCI ON VIEW AT NATIONAL GALLERY, SEPTEMBER 26, 1999 - JANUARY 9, 2000

Washington, D.C. - The first exhibition devoted solely to the powerful and evocative drawings of Annibale Carracci (1560-1609), widely regarded as one of the world's finest draftsmen, will be on view at the National Gallery of Art, September 26, 1999 - January 9, 2000. Ninety-five of the artist's best works many never before seen in the United States will be on view, including grand compositions, figure studies, landscapes, genre scenes, and quick jottings. It is the first monographic exhibition of Annibale's work, which has previously been shown only with that of his brother Agostino and his cousin Ludovico, with whom he worked closely.

The exhibition is made possible by Republic National Bank of New York, and Safra Republic Holdings S.A., Luxembourg.

"Annibale Carracci is justly celebrated for his naturalism and ability to bring the human figure to life on the page," said Earl A. Powell III, director, National Gallery of Art. "We are grateful to Republic National Bank and to the many lenders who have enabled us to bring to our nation's capital the exquisite drawings of this master, who so brilliantly bridged the High Renaissance and the baroque."

From his earliest years, Annibale Carracci set down his thoughts rapidly and constantly on paper. Annibale, together with his brother and cousin, founded an art academy one of the first of its kind and the acknowledged prototype for those that followed throughout Europe in which special emphasis was given to drawing, especially drawing from the live model. A full range of Annibale's magnificent studies of the human figure is included in the exhibition, from his early Bolognese works executed in red chalk in the 1580s to those in black and white chalk on blue paper made in the late 1590s in preparation for his masterpiece, the decoration of the Farnese Gallery in Rome.

A key innovation of Annibale's art was his insistence on nature and reality as the basis of his style. He rejected the artificialities and elegant deformations of Italian mannerism,

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Koiirtli Street at (ioiisliiiitmn Avenue, N.W., Washington, D.C. 2050;) (202) 842-0353. />« «/////<> (202) 842-2403 carracci... page 2 which was then in fashion, and drew inspiration from the real people and places of his own world. He also studied closely the classical forms of ancient sculpture and absorbed the lessons of High Renaissance masters like Michelangelo, Correggio, and Titian, and came to be admired as "Raphael reborn." Even in Annibale's grandest paintings of gods and saints, the figures, gestures, and expressions are based in the same reality as the studies he made of ordinary people in their daily life.

The exhibition will include many drawings made by Annibale in preparation for paintings, prints, and objets d'art. Several studies will showcase the systematic preparatory process by which Annibale developed his compositions: from broad pen sketches to monumental chalk studies of the individual figures to final model drawings and full-scale cartoons. The development of this orderly yet vital progression of studies is considered one of Annibale's most influential contributions to the practice of painting.

The most dramatic example of this preparatory process can be seen in studies for Annibale's decoration of the ceiling of the Farnese Gallery, Rome (1597-1601). The centerpiece of that group will be the spectacular full-scale, eleven-foot-square cartoon for the right half of the painting in the center of the ceiling, The Triumph of Bacchus and Ariadne. The cartoon has never before been exhibited outside its home museum, the Museo Nazionale delle Marche, in Urbino, Italy.

The exhibition has been selected and catalogued by an international team of Carracci experts: Daniele Benati of the University of Udine; Gail Feigenbaum of the New Orleans Museum of Art; Kate Ganz, an independent scholar who first conceived the idea for the exhibition; Catherine Loisel Legrand of the Louvre; and Carel van Tuyll van Serooskerken of the Teylers Museum. The National Gallery's coordinating curator is Margaret Morgan Grasselli, curator of old master drawings.

A fully illustrated catalogue written by the members of the organizing committee presents new scholarly research in the study of Annibale Carracci's drawings. The introductory essay was written by Diane De Grazia of the Cleveland Museum of Art. A softcover catalogue will be available for $39.95 in the Gallery Shops and through the Gallery Web site at www.nga.gov. To order by phone, call (301) 322-5900 or (800) 697-9350.

Additional support has been provided by the Samuel H. Kress Foundation and The Circle of the National Gallery of Art. The exhibition is organized by the National Gallery of Art, Washington. It is also supported by an indemnity from the Federal Council on the Arts and the Humanities.

The National Gallery of Art, located on the National Mall at Fourth Street and Constitution Avenue, N.W., is open Monday through Saturday from 10 a.m. to 5 p.m. and Sunday from 11 a.m. to 6 p.m. The Gallery is closed on December 25 and January 1. Admission is free. For general information, call (202) 737-4215; call the Telecommunications Device for the Deaf (TDD) at (202) 842-6176; or visit the National Gallery of Art's Web site at www.nga.gov. To receive the Gallery's free bimonthly Calendar of Events, call (202) 842-6662. #### Annibalf Carracci: Chronology and Documents

Excerpted from the catalogue The Drawing ofAnnibalt Carracn. An. Chronology compiled by Stacey Sell. Copyright 01999 Board of Trustees, National Gallery of

' 1591 ' 1560 1583 Signed and dated print: print: 3 NOVEMBER: Annibale First signed and dated painting: Madonna of the Swallow, Signed and dated in the Wilderness, Carracci is baptized in Bologna Crucifixion with Saints, for San "IS87/ANI. CAR. BOL. F. IN." Mary Magdalene (De Grazia n). (Malvasia 1678 [1841], 326). Nicold di San Felice, Bologna (De Grazia 9). "Carra. in.1591" (Posner 6). I 588 - ' 1592 - 1580-1582 OCTOBER: Receives commis- Signed and dated painting: Signed and dated paintings: Possible date of study trip to sion for The Baptism of Christ Madonna and Child Enthroned Assumption of the Virgin, Parma and Venice with Agosnno. (Boschloo 1974, 179, n. 6). with Saints (Madonna of Saint Pinacoteca Nazionale, Bologna l8 APRIL l8 APRIL AND Matthew), Gemaldegalerie, (Posncr 69); Venus and Cupidt to Ludovico from 0.1583-1584 1580: Writes Dresden, "HANNIBAL CARRAC- Galleria Estense, Modena (Pos Parma with his reactions to Cor- Signed and dated fresco cycles: TIVS BON.F. MDLXXXVIM." ner 65); Madonna and Child Parmigianino (Perini The Story ofJason, dated 1584, and reggio and (Posner 45). in Glory with Saina ("Madonna 4, 5) 1990, 152-154). An undated The Story ofEuropa (see Cats. of Saint Luke"), Louvre, Paris, note from Agosnno confirms that for the Palazzo Fava, Bologna, 1589 "ANNIBAL CARACTIUS F the brothers are in Venice and executed by the three Carracci. MDXCII." (Posner 67; see 1589); 19 JULY: Signs contract with describes Annibale's admiration Death ofDido, Palazzo Francia Later possible date, accepted the Collegio dei Notan for an for Veronese (Permi 1990, 168).' Zambeccari-Angelelli, Bologna by some scholars, for Annibale's altarpiece, in his own hand, of (Posner 68).* trip to Parma and Venice (see the Madonna and Child with above, 1580-1582). Saints Luke and Catherine and Signed and dated print: Signed and dated print: the Four Evangelists, for their Venus and a Satyr, "1592. A.C." Crucifixion, "Anj. in. Fe., 1581" 1585 chapel in the cathedral in Reggio (DeGrazia 17). (DeGrazia i). Signed and dated paintings: (Ferrari 1913, 3-11). Madonna Saints 15 NOVEMBER: Letter from Baptism of Christ, San Gregono. and Child in Glory with 1582 - the Cornelio Lambertini refers to Bologna (Posner 21) (see Cat. 7), is dated 1592, the year of Venus and Cupid (Posner 65) and Probable founding of the Acca- and Pitta with Saina (Posner final payment (on 3 August), one of its intended companion demia degli Desiderosi, later 24), Pinacoteca Nazionale, Parma. and the painting was delivered pieces, Agostino's Pluto (Posner renamed "Accademia degli Incam- soon afterward (Posner 67). and dated print: Saint 1971, 2: i8). minad," after Agostino's return Signed Francis ofAssist, "1585, Ani. Ca. to Bologna (Bellori 1671, 43).* c. 1589-1591? in. fe." (De Grazia 7). ' 1593 ' In this year, Giovanni Paolo Signed and dated fresco cycle: and dated paintings: Bonconti entered the Accademia Latest possible dare for the Story of the Founding of Rome for Signed and Child Enthroned and contributed to the furnish founding of the Accademia the Palazzo Magnani, Bologna, Madonna Saint John the Baptist, Saint ings of the new school (Malva.su (see above, 1581). executed by the three Carracci with the Evangelist, and Saint 1678 [1841], 404-405). (see Cats. 16, 17).' John Catherine ofAlexandria, "ANNI Signed and dated print: CARR FE MDXCII1." (Posner 72); Holy Family with Satnajohn Signed and dated paintings: 1590 Resurrection of Christ, Louvre, the Baptist and Michael, "Am: Assumption of the Virgin, Signed and dated print: Pans, "ANNIBAL CARRATIVS Cara: fe. 1581." (De Grazia 2). Gemaldegalerie, Dresden (see Holy Family with Saint John P1NGEBAT MDXCIII." (Posner Cat, 12); Portrait ofClaudio the Baptist, "Anni.Car. in. fe. 73); Self-Portrait, Galleria Merulof?), Pinacoteca Nazionale, 1590" (De Grazia n). Nazionale, Parma, "17 di Aprile Naples (Posner 35), dated 1593" (Posner 75). M.D.L.X.X.X.V.I.I. (Posner 40). - of the painting's completion, Signed print: Madonna and Child AUGUST: Letters from Odoardo I597/I598-I6OI the inscription commemorates (De Grazia 16). In 1593, Raphael Farnese to FuMo Orsini reveal the death of Gelosi's son, to Sadeler made a dated copy of that the Sala Grande project is At work on the ceiling of whom the chapel is dedicated this print, indicating that Anni* being postponed and that Anni- the Farnese Gallery (see Cats. (Posner 1971, 2: 48; Tiecze 1906- bale's version must have been bile is to work on the Camerino 39-60.' 1907, 136). finished by that time. instead (Martin 1956, iu, and Martin 1965, 42-43). 1599 • SUMMER: Cardinal Odoardo I6OO-I6OI to his brother AUTUMN: Returns to Rome Agostino is in Rome working Farnese writes Probable dates of the Assumption hiring the Car- (Zapperi 1986, 204) and is at on the Gallery but leaves before Ranuccio about (Posner 126) and vault (Posner to paint the Sala Grande of work for the Cardinal by 8 No 16 July, when another payment racci U7M) in the Cerasi chapel. a cycle commem vember, when Ranuccio's letter for a portrait of Ranuccio Farnese his palace with Santa Maria del Popolo, Rome. their father, Duke Ales- to Odoardo recommends that places him in Parma (Bologna orating July 1600 is the date of the Farnese (Uginet 1980, 7). the painter Ottavio Pincolini be 1956 [Dipinti], 88; De Grazia 1988, sandro chapel's consecration, and the put under Annibale's direction 104). An undated letter from 8 DECEMBER: Letter from work seems to have been fin at the Palazzo Farnese (Tietze Annibale to Ludovico, probably Giasone Vizani to Onofno ished byTiberio Cerasi's death 1906-1907, 107). written soon after Agostino's Santacroce describes the current in May 1601 (Posner 1971, 2: departure, complains about the of the Carracci 55, and Mahon 1951, 226-227; commitments ' 1595-1597 ' poor relationship of the broth Cats. 77, 78). (Zapperi 1986, 205). Agostino's At work on the Camerino ers, citing in particular "unbearable arrogance" (Perini ' 1594 ' (see Cats. 27-38). 1601 1990,165). Agostino, i JUNE: An awiso preserved AUTUMN: With ' 1597 ' 2 AUGUST: Letter from Biblioteca Casanatense visits Cardinal Odoardo Farnese in the 22 OCTOBER: Document list Giovan Bamsta Bonconti to his the unveiling of in Rome (letter from Odoardo announces ing a payment for his portrait of rather describes Annibale's under Farnese Gallery vault in the to Ranuccio, dated 21 February the Ranuccio Farnese places Agosuno payment and mistreatment at presence of Cardinal Pietro 1595, in Tietze 1906-1907, 54). in Parma (Bologna 1956 [Dipinti], the hands of the Farnese: "... he Aldobrandini, who presented Signed and dated painting: 88; De Grazia 1988,104); some labors and pulls the cart all day Annibale with a gold chain and Crucifixion, StaatHche Museen, time after this date, he arrives in like a horse, and paints loggie, medallion valued at rwo hundred Berlin, "ANNIBAL CARATIVS. Rome to work with Anmbale. small rooms and large, pictures scudi. He also commissioned MDXCIIII." (Posner 81). and altarpieces and works worth a painting from him, Christ Signed and dated print: a thousand scudi, and he is Appearing to Saint Peter (Domine, Pieta (Christ of Caprarola), in • 1595 • exhausted, and cracking under Quo Vadit?) (Zapperi 1981, 822). succeeding states, "1597" "Cap- ii FEBRUARY: Letter from this, and has little appetite for rarolae 1597," and "Annibal Odoardo Farnese to Ranuccio such servitude" (Malvasia 1678 c. 1601 1601 Caracius fe. Caprarolae 1597" states that he plans to have [1841], 405; Briganti 1987, 42, (De Grazia 18). Probable date of Saint Gregory decorated by this letter to mean thac the Sala Grande interprets Praying for the Souls in Purgatory (Tietze 1906- has already departed). the "Carraccioli" ' 1597-1599 ' Agostino (Posner 130) for the Salviati 1907, 54)- chapel in San Gregorio al Ccho, Probably at work on Saint An inscription marks the date Rome (see Cats. 79-81). Accord 8 JULY; Writes to Giulio Fossi Margaret and Coronation of the of completion of the chapel of ing to Posner. the painting must that he will be unable to finish Virgin (see Cat. 64; Posner 106 Bencdetto Gelosi in the cathe have been commissioned before The Alms of Saint Koch because and 107) for Santa Caterina dral at Spoleto, for which Anni Salviati's death in 1602, and of commitments to the Farnese dei Funari, Rome. Documents bale and an assistant (probably was probably finished well before (Perini 1990,155-156; Cat. 26). relating to the dedication of the Innocenzo Tacconi) painted the October 1603, when the chapel altar indicate that negotiations Madonna and Child in Glory with was consecrated (Posner 1971, 2: were under way between January Satna (Posner 109). Although 57; see also Smith O'Neil 1985,165). 1597 and December 1599 (Tietze Malvasia read "1591" as the date 1906-1907, 133). According to Probable date of Rmaldo and Mancini, the paintings were in Armida (Posner 132(5]). Accord- place after 1600 (Mancini 1617 [1956-1957]. i: 38)' Posner suggests that Annibale ing ro Posner a studio work after 1604 made sketches for all the lunettes Annibale's design, this painting Probable date of Christ Appear in commission to paint and painted two of them is mentioned in the opening ing to Saint Peter ("Domtne, Earns the chapel, San Giacomo 1604, leaving the rest of the paragraph of Agucchis descrip Quo Vadis?") (Posner 135). The the Herrera by Spagnuoli (Malvasia 1678 work in 1605 to be finished tion of Annibale's Sleeping Venus inclusion of this painting m the degli Albani and others over the (Posner 134), which was in the 1603 Aldobrandim collection [1841], 296). course of the next several years a terminus artist's studio being finished in inventory provides 24 APRIL: Car 4 APRIL- (Posner 1971. 2: 67). saw but Posner dates it 1602 (see below). Agucchi ante quern, dinal Farnese's weekly books list chapel version the recently completed RinaUo after the Cerasi for Annibale and three payments • 1604-1605 • time, so the the same subject (Posner and Armida at this of assistants (Uginet 1980, 104). the Madonna painting is datable to 1601-1602. 1971, 2: 60; for inventory, see Probable date of D'Onofrio 1964, 203). NOVEMBER 25: With Roncalli, ofLoreto (Posner i?i[s]), painted evaluates a painting by Baglione in Annibale's shop for the - (Bertolotti 1885, 145, cited by Madruzzi chapel in San Onofrio, FEBRUARY 2 3 : Agostino dies in 1603 Posner 1971, i: 177, n. 33). Rome. The commission was Parma (Tietze 1906-1907, 130). 13 JANUARY: Agosuno's funeral probably awarded sometime in is held in the Chiesa dell'Ospe- Contributes to the Accademia Returns to Bologna for a brief 1604 and finished by 1605, the dale della Morte, Bologna. di San Luca (Posner 1971, i: 177, visit, probably until May. Several date of the chapel's completion n. 33) members of the Bologncse shop 10 MAY, 12 JULY, 19 JULY, according to an inscription on move to Rome to work with AND 13 SEPTEM BER: Publication of Carel van Man- the floor (Posner 1971, 2.: 68). him in the same year: Domen- Testimony in Annibale's hand ders HetSchilderboeck, in Haar Moves out of the Farnese Palace ichino, Lanfranco, Sisto Bada- states that "mastro Jacomo" had lem, which contains a brief entry (see Bellori 1672, 93; Posner 1971, locchio, Antonio Carracci (Pos been doing stucco work for the on Annibale based on informa i: 147, and 2: 67; Martin 1965,18). ner 1971. l: 140). Farnese (Uginet 1980, 105). tion from a correspondent in Rome. Van Mander praises Anni APRIL IT: Letter from Giovanru 1 JUNE-27 SEPTEMBER: I6O5 bale's work for Cardinal Farnese, Farnese's weekly books Battma Agucchi to Bartolomeo Cardinal a deep depres "a beautiful gallery,'' Falls ill with "... to Annibale and including Dulcini in Bologna asks him to list payments by emptiness but does not mention other sion, accompanied assistants (Uginet 1980, 103). speak to Annibale about a com three lapses of memory. specific paintings. According to of mind and Bap- mission for a Saint John the spoke nor remem 10 j u LY: Testimony in Anni Posner, the information was He neither tut "if he has not yet left Bologna" in danger of sud bale's hand states that he has probably supplied to Van Mander bered and was (Malvasia 16^8 [1841], 330). (Mancini 1617 [1956- spent eight scudi and fifty no later than 1601 (Posner 1971, den death" 29 MAY: Death of his mother baiocchi on paint in the service I: 174, n. 12). 1957], i: 218). 1989, of Cardinal Farnese (Uginet in Bologna (Zapperi 19 FEBRUARY: Letter from the 1980, 105). 143-145). c. 1604 duke of Modena to Odoardo date of Aldo- a painting from 31 MAY - 1 3 JUNE; Ludovico 13 SEPTEMBER: On trial for Probable starting Farnese requests 145- visits Rome (Malvasia 1678 libel, Caravaggio lists Annibale brandini lunettes (Posner Annibale (Tietze 1906-1907,146). among those he considers I5o[s]). Apparently mostly stu [1841], 297). 12 MARCH: Letter from "valenthuomini," noting, "This dio works designed by Annibale, LY ; The mason Domemco Odoardo Farnesc to the duke i 8 i L' in my use of these lunettes are dated on the word Valentuomo,' Annibale's Cone is paid for removing of Modena describes da man who knows how basis of documents concerning it, means a him from the Farnese illness, which has prevented scaffolding his art well. Thus, the chapel where they once hung. to practice 1906-1907, Gallery vault (Zapperi 1981, 821). from painting (Tietze a painter is a valfntuomo if he Fresco and gilt work were fin 147. n. i). 1604, and A u T u M N : At work on the knows how to paint well and ished by late October a payment for from Fabio Sleeping Venus (Posner 134; see to imitate well natural things." Albani received 27 MAY: Letter with other of Modena's Cat. 84). Agucchi wrote a long He also names Annibale as one six paintings done Masetti, the duke on 22 January notes that An description of this painting of the painters with whom he studio members agent in Rome, 1964, 183-184). with after seeing it, nearly finished, is currently on speaking terms 1605 (Hibbard nibale has not spoken agree that months in An m bales studio in the (Friedlaender 1955, 277). Posner and Hibbard Odoardo Farnese in two the commission 147)- Palazzo Farnese during the this means that (Tierze 1906-1907, in 1603 "vendemie," or fall harvest, of was probably awarded 2: 67), and 1602 (published in Malvasia or 1604 (Posner 1971, 1678 [1841], 360-368). 6 Boh tin in Washington 1979, 30). is living on the Via Condotti in a house with The Farnese books contain 2. Scholars who believe that the 22 JUNE AND 30 JULY: in that parish of payments made to trip took place later assign a differ from Masetti Sisto Badalocchio, Giovanni records Further letters ent date to the Accademia's open Antonio Solan, and Antonio Annibale for the months of May document the progress of the ing, with 1185 as the latest possible 1974, 31-33). (dated 14 June, picked up for commission for the duke, a Carracci (Andrews date (Bologna 1956 [Dipinti], 76). Sisto Badalocchio), (location Annibale by Nativity of the Virgin MAY: Failure to produce 3. Dated 1592 on the wall but ii 8 October, September (dated this time; unknown) (Tietze 1906-1907, of the Virgin prompts probably finished before the Nativity Gio picked up for Annibale by see Posner 1971, i: 23, and Dempsey 147-148). a letter to Maseru, requesting vanni Lanfranco), and October 1986, 248. return of any money paid 6 AUGUST: Letter from Maseui the picked up for (dated November, 4. Bologna 1956 (Dipinti), 83, to the painter (Bologna 1956 says Annibale is living "behind Annibale by Sisto Badalocchio) describes the last painting u [Dipinti], 99). the vineyards of the Riajij alia (Uginet 1980, 105-106). There signed and dated, but Posner 1971. 1906-1907,148). l: 29, disagrees. Lungara" (Tietze 26 MAY: Masetti replies that are also records of payments made anything Cardinal Farnese to Annibale 5. The starting date of 1597, Masetti's letters Annibale was not paid by AUGUST: may had and three assistants for the weeks although generally accepted, the progress of the in advance, because it document be too early (see, for instance, seemed doubtful that he would of 20 April-28 June, and from Nativity of the Virgin (Tietze Martin 1956,53; Posner 1971, i: 49; (Tietze 1906- 50 November-io December 1906-1907, 148). finish the painting and Dempsey 1995, 7). Briganti 1907,149). (Uginet 1980, 104). sets the starting date at 1598, based on his discovery of an inscription l6o6 finish 4 j u LY : Letter from Agucchi Annibale's assistants reading "1598" on the vault, in the Signed and dated prints: Christ mentions an important work for painting the wails of the Farnese white unpainted area under Glau- date also agrees Crowned with Thorns, "Annib. Cardinal Farnese, which both Gallery. cus and Scylla. This with reference to the dates of the Carracius in. et fecit. 1606." (De Mahon and Posner assume is the Camerino: a year would have been 93); Madonna 136). Although this 1609 Grazia 21; see Cat. Pitta (Posner a reasonable amount of time for delta Scodtlla, "Annib. Carracius establishes a completion date of Brief trip to Naples for his health preparations to paint the Gallery in. et fecit. 1606." (De Grazia 20). 1607, stylistic evidence suggests (Mancini 1617 [1956-1957], i: 219). after finishing the Camerino (Brig other dates that the painting was begun anti 1987, 32). The 12 APRIL: Letter from j u LY 15: Dies in Rome (con found on the ceiling can be inter much earlier, probably around Odoardo Farnese to the duke by parish records found preted as follows: 1599 (in chalk, 1971, 2: 6l; firmed 1600-1601 (Posner under GLiucus and ScylLi] marks of Modena describes Annibale's by Zapperi 1979, 62). A letter of Mahon 1947, 114-115). the participation of Agostino poor condition, noting that it the same date, from Agucchi (Brigand 1987, 35); "1600 16 [or 18] than a year since and Giovanni has been more Sisto Badalocchio to Dolcini, describes Annibale's maggio" (in paint, under Glaucw the painter has produced so Lanfranco dedicate their series death in detail (Malvasia 1678 and Scylla] may be the date that much as a brushstroke for him of etchings after Raphaels Loggia [1841], 319). At the time, he was work on the Gallery was resumed after a nine-month interruption {Tietze 1906-1907, 150). in the Vatican, "Historia del Tes- living on the Quirinal Hill, in while Farnese renewed his plans to tamento Vecchio," to Annibale. the parish of San Girolamo al 1O APRIL -28 JUNE AND decorate the Sala Grande in Sep Quirinale (Zapperi 1979, 62). tember 1599 (Briganti 1987, 34); JO NOVEMBER-20 DE 1608 MDC (under the figure of Galatea) Farnese's burial in CEMBER: Cardinal I u LY 16: Annibale's date of comple 14 JULY: Contract drawn up was the intended weekly books list payments to the Pantheon (confirmed by tion. Others think this last date may between Annibale and his stu Annibale and three assistants church records found by Zapperi refer to the wedding of Margherua dents, apparently in an attempt Far (Uginet 1980, 104). 1979. 62). Aldobrandini and Ranuccio to persuade him to return to nese (Tietze 1906-1907. 125) or They all agree to complete JULY i 7: An inventory is made the actual date of completion (Pos 1607 work. 49; Gash 1990, 147), one painting, on canvas, of a of Annibale's belongings (pub ner 1971, 2: The Herrera chapel. San Giacomo but documentary evidence shows head every five weeks and to work lished by Zapperi 1979, 62-65). Rome (Posner that the ceiling was not unveiled degli Spagnuoli, every day, begin for two hours until 1601. !54-i72[s]), is finished, accord ning on that date. The contract in the chapel. 6. Although this description is ing to an inscription by Annibale, Antonio NOTES is signed undated, one of Agucchi's later The commission was taken over some scholars have Carracci, Sisto Badalocchio, \. Although letters, written by 23 April 1603, by Albani after Annibale became doubted the veracity of these letters, Giovanni Antonio Solari (Bo refers to the essay, providing a 1971, 2: 69). which first appear in Malvasia, and ill (Posner no. 248, on verso of terminus ante quern for the logna 1956, the study trip to c. 1583 1584 date painting. (Sec Posner 1971, l: 60; year in the a drawing now in Turin, mv. (see Pepper 1987, 413; Mahon 1986, An entry for this Battisn 1962, 547-548.) support "state d'amme" for San Lorenzo 16096). 794), many others now the idea that the brothers took a in Lucina reveals that Annibale study trip at this ume (Cropper and Dempsey 1987, 502; De Grazia National Gallery of Art

Washington, D.C.

SPECIAL PROGRAMS AND ACTIVITIES

THE DRAWINGS OFANNIBALE CARRACCI NATIONAL GALLERY OF ART September 26,1999 - January 9, 2000

GALLERY TALKS Tours led by staff lecturers take visitors through the exhibition The Drawings ofAnnibale Carracci. All groups meet in the Rotunda of the West Building.

November 9 and 30 at noon November 17 and 25 at 2:00 p.m. December 5, 8, and 10 at noon

TOURS OF THE EXHIBITION Tours by Special Appointment: for adult groups of twenty or more, call (202) 842-6247.

CATALOGUE The Drawings ofAnnibale Carracci presents new scholarly research in the study of the artist's drawings and is written by an international team of Carracci experts, including Daniele Benati of the University of Udine; Gail Feigenbaum of the New Orleans Museum of Art; Kate Ganz, an independent scholar who first conceived the idea for the exhibition; Catherine Loisel Legrand of the Louvre; and Carel van Tuyll van Serooskerken of the Teylers Museum. The introductory essay was written by Diane De Grazia of the Cleveland Museum of Art. A softcover catalogue is available for $39.95 in the Gallery Shops and through the Gallery Web site at www.nga.gov. To order by mail, call (800) 697-9350 or (301) 322-5900.

GENERAL INFORMATION The National Gallery of Art, located on the National Mall at Fourth Street and Constitution Avenue, N.W., is open Monday through Saturday, 10:00 a.m. to 5:00 p.m. and Sunday, 11:00 a.m. to 6:00 p.m. For general information, call (202) 737-4215; call the Telecommunications Device for the Deaf (TDD) at (202) 842-6176. For information

- more - carracci programs ... page 2 on accessibility to galleries and public areas, assistive listening devices, sign language interpretation, and other services, please inquire at the Art Information Desks or call (202) 842-6690. The National Gallery's Web site can be accessed at www.nga.gov. Admission to the National Gallery of Art and to all of its programs is free except as noted.

SPONSOR/ORGANIZATION The exhibition is made possible by Republic National Bank of New York, and Safra Republic Holdings S.A., Luxembourg.

### REPUBLIC NATIONAL BANK OF NEW YORK FIFTH AVENUE AT 4Oth STREET • NEW YORK. N.Y. 1OO1 8 (2 1 2 ) 525-5OOO TELEX 234967 CABLES: BLICBANK NEW YORK

Republic National Bank of New York has had a long-standing commitment to the arts, and once again is proud to be a patron of a major exhibition in our nation's capital. Support of The Drawings ofAnnibale Carracci exhibition at the National Gallery of Art in Washington is the most recent example of that commitment.

Republic seeks to bring the arts to the widest possible audience, as is evidenced by its history of support of both the visual and the performing arts. Republic's strong relationship with the National Gallery of Art spans more than a decade. This is the ninth National Gallery exhibition to be sponsored by Republic National Bank of New York. Previous exhibitions include An American Perspective: Nineteenth Century Art from the Collection of Jo Ann and Julian Ganz, Jr. (1981); Renaissance Master Bronzes from the Collection of the Kunsthistorisches Museum, Vienna (1986); Berthe Morisot: Impressionist (1987); Franz Hals (1989); Circa 1492: Art in the Age of Exploration (1991); Cesarini Venus (1993); John Singleton Copley in England (1995); Georges de la Tour and His World (1996); and Bernini's Rome: Italian Baroque Terracottas from the The State Hermitage Museum, St. Petersberg (1999).

Elsewhere around the world, Republic has sponsored a Walter Sickert exhibition at The Royal Academy of Art in London and an exhibition of the Dead Sea Scrolls at The New York Public Library.

In the performing arts, Republic provides regular operating support to a number of major New York City arts and cultural institutions.

Republic believes that the arts should be supported not only with financial resources but also with human resources, and a number of its senior officers serve as trustees of not-for-profit organizations.

Republic National Bank of New York is a wholly owned subsidiary of Republic New York Corporation, one of the largest banking companies in the United States with assets of $51 billion. Republic National Bank of New York provides a full range of banking services to consumers in the Greater New York Metropolitan Area and South Florida, and to institutions and private clients worldwide. Another subsidiary, Republic Bank California N.A., provides consumer and private banking services in the Los Angeles area. Through its honorary chairman and principal shareholder, Edmond J. Safra, the corporation can trace its heritage to a banking enterprise started by the Safra family more than a century ago. Republic's founding principle is preservation of clients' assets. As a result, Republic is one of the most risk-averse, conservative banking companies in the United States.