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Art 360 Final Term Paper at the start of the . Neo-Platonic thought reigned in and literature. During an age of and break-through science and technology, artists of the succeeding age became ever more interested the in the macroscopic spaces of the celestial world. The Julianna Ziegler ceiling of the Palazzo Farnese is the perfect example of the Baroque period,with its dramatically curving, There are two basic challenges which are ever- -inspired Þgures, and expertly crafted present to the artist. The Þrst is to transform a blank three-dimensional illusions. Neo-Platonic ideals seem empty ground into an illusionistic representation of to resonate from within the throughout the reality by incorporating light and space. The second . challenge is to maintain a unique signature style while From the Bolognese academy, the Þrst combining former artistic discoveries with the artistÕs signiÞcant academy of its kind in the history of own imagination and ingenuity. western art, arose some of the earliest of Baroque Beginning around the turn of the 17th century, masters: the Carracci.1 The premise of this academy the world of art began to change dramatically. was that the basis of any academic philosophy of art Weary of the once innovative ideals of the Early could be taught. The materials of instruction must Renaissance, artists had already reached the pinnacle be the traditions, the antique and the Renaissance, in of their experimental ideas in the . addition to the study of and from , with its stretched proportions and life.2 The academy taught a style which combined neglect of the laws of space, was discarded by Venetian color with Florentine attention to drawing forward-thinking artists with the exception of and design. The Bolognese painters strived to borrowing the exaggeration in movement from combine the of nature with the imagination, the forms it produced. Artists were anxious for which resulted in an exaggerated, yet believable, ideal something new and innovative, a style that would that surpasses the norm. As an unfortunate result, surpass in aesthetics those preceding it. With the they were often viewed as academics that seemed Baroque period, arose a new style which mastered the to believe that the development of the correct style epiphany of illusion. of was synthetic. This was, in fact, exactly Illusion has played a critical part in the world of what disdained and the reason why he representational art since virtually the beginning of sometimes drew criticism from other painters of the artistic existence. In the caves of Lascaux, prehistoric period.3 depicting bulls were painted onto natural The brothers Annibale and Agostino rock reliefs in order to appear three-dimensional. Carracci united their talents with their cousin Ancient Roman architects compensated for the optical Ludovico and founded their own school. This, in illusion of a sinking structure in such a massive turn, was responsible for the enduring careers of building as the Parthenon by creating tapered many emerging artists of the time.4 They supported columns and a slightly bowed base. Other more an artistic ideal which combined mannerism with recent, yet still ancient examples, can be found in the naturalism, and employed a warmer, more naturalistic perspective paintings decorating the of Pompeii, coloration in exchange for the softer, or bright, pastel Boscoreale and Herculaneum prior to the invention hues of Mannerism. Central Italian High Renaissance of linear perspective. These ruins discovered only paintings seem cold, and even remote, in comparison within the past century are rare examples of an 1 Helen Gardener, GardenerÕs Art Through the Ages, Sixth early attempt towards perspective. They were not Edition (New York, Chicago, San Francisco, Atlanta: Harcourt even available to the artists of the Renaissance and Brace Jovanovich, Inc., 1975), p.593. Baroque, yet with their interest in Humanism and Neo 2 Erwin Christensen, The History of Western Art, Fifth Edition Platonism, they illustrated selections from classical (New York: The New American Library, 1963), p.230. literature. 3 Giogio Bonsanit, Caravaggio (Vicenza, : Scala Books, 1984), p.3. Although illusionistic space seemed of little 4 T.H. Fokker, ÒThe Origin of ,Ó The Art importance compared to symbolic iconography Bulletin, Vol. 15, No. 4 (1933), p. 299-309. during the , its popularity reappeared to CarracciÕs lively palette.5 , rather than as a mere background accent Patrons of the seemed to support in a painting. Such an example can be seen in the their favorite artists, no matter the cost. Annibale 15th century painting Birth of the Virgin by his teacher, Carracci was summoned from by Duke Ghirlandaio. Ranuccio Farnese in around 1597 to decorate the Annibale was indeed strongly inßuenced by Palazzo Farnese in . He worked in fresco until Michelangelo. Given the choice, it could be said that 1604, while enlisting artists including Agostino and Michelangelo was a superior master of portraiture, as Domenchino in 1603, after the stucco work was some of CarracciÕs faces seem to be a little strained, completed. Through observation, there seems to be and even cartoonish, such as in the most well known a parallel with who was summoned from fresco of The Triumph of . 10 Upon close his home in , 187 miles south of Bologna to inspection, Carracci used a series of hatching to aid in , less than a century earlier to paint the ceiling of the development of a chiaroscuro effect in each image. the Vatican library and the Farnesina in 1518. It is It seems that Michelangelo painted with broader 626 miles from Bologna to Rome, and 427 miles from brushstrokes, while CarracciÕs seem sometimes Florence to Rome. Therefore, this would have meant a so tight that they appear to be overworked. On a tremendous trip for each of them.6 positive note, such a technique might project a more Annibale took on the project with the distinct image to the viewers below. ambition to not only match the intensity of illusion Michelangelo was not Annibale CarracciÕs only in MichelangeloÕs , but to surpass it.7 inßuence. He was also impacted by the works of Whether he succeeded is a matter of opinion. By Raphael, as well as and other Renaissance investigating pictures of CarracciÕs layers of images, artists, and, of course, by the of the Greeks one begins to become perplexed and even dizzy in and Romans. Like Michelangelo, he was strongly the attempt to interpret the illusionistic from the inßuenced by the discovery of the ancient Hellenistic truly three dimensional. Many of the frescoes have of the Laocoon.11 In fact, AnnibaleÕs work in the illusion of framed panel paintings. Quadratura,8 the Palazzo Farnese is declared by Giovanni Pietro realistically painted architectural framework, has been Bellori in 1672 to have earned him the credit of the fashioned so convincingly it would be unlikely the sole redeemer of classical Roman painting Òafter viewer could discern between the wrought and the an almost unbelievable decline following the death real. The artiÞcial and unseen light sources Annibale of Raphael.Ó12 Less than a century prior, Raphael used are truly unmatched in their dramatic and and other High Renaissance artists like Sodoma theatrical results. and Peruzzi had completed the frescoes of what is The two dimensional Òstatues,Ó painted in the now known as the . Bought later grisaille technique, appear to be weathered or even by the Farnese family, this building is connected to broken. When one comes to the conclusion that a the Palazzo Farnese, now the French Embassy by particular sculpture is truly three dimensional, oneÕs a bridge over the River. Annibale, therefore, depth perception is again questioned upon seeing the had convenient access to instant inspiration from the Þgures of ignudi twisting around to look down masters of the High Renaissance. Among its many upon us in the foreground.9 These are satirical salutes frescoes, the Farnesina exhibits PeruzziÕs Aquarius, an to MichelangeloÕs ignudi of the . image depicting the Þgures of a man and an eagle.13 Still, Michelangelo has earned the credit he deserves This image, unusual to High Renaissance standards in successfully introducing a new and wonderful style in its rigidity, is comparable to CarracciÕs provocative to inßuence and astonish artists for centuries. He yet graceful image of The Rape of by JupiterÕs was the Þrst to use the grisille technique to offer the Eagle. Carracci extracted the soft beauty and grace of illusion of architecture, where there truly could be the elegant facial features of the creations of Raphael 5 , Art and Architecture in Italy 1066-1750, and combined them with the weighty musculature of Sixth Edition, (Yale University Press, 1999), p.27. 10 Rudolf Wittkower, Art and Architecture in Italy 1066-1750, 6 Google Maps, Example: Bologna to Florence, Tele Atlas, Sixth Edition, (Yale University Press, 1999), p.35. (Accessed February 1, and April 4, 2008) http://maps.google. 11 Carl Goldstein, Visual Fact over Verbal Fiction: A Study of com/maps the Carracci and the Criticism, Theory, and Practice of the Art 7 John Rupert Martin, Farnese Gallery (Princeton, New Jersey: in the Renaissance and Baroque Italy (New York: The Press Princeton University Press, 1965), p.117. Syndicate of the University of Cambridge, 1988), p.290. 8 Arthur K. McComb, Baroque Painters of Italy; an Introductory 12 Charles Dempsey, Annibale Carracci: The Farnese Gallery, Historical Survey (New York: Russell & Russell, 1968), p.19. Rome (New York: George Braziller Inc., 1995), p. 8. 9 Charles Dempsey, Annibale Carracci: The Farnese Gallery, 13 Frederick Hartt and G. Wilkins, History of Italian Rome (New York: George Braziller Inc., 1995), p. 78. : Painting, Sculpture, Architecture, Fifth Edition (New York: Harry N. Abrams Inc., 2003), p.573. the creations of Michelangelo to create a style all his It is interesting to note that while Carracci was own. The soft rounded Þgures, complemented by a hired to paint a residency rather that the chapel of sweeping, dreamlike landscape, are almost certainly a church, he didnÕt neglect a certain tradition. In a directly inßuenced by Titian. large chapel, the artist would decorate the walls and The Loves of the , which is the theme of the ceilings to reßect the subject matter of the altarpiece. vaulted ceiling of the Palazzo Farnese, is unique Similarly, Annibale Carracci covered the ceiling with because while Carracci utilizes the beautiful images depicting supreme mythological beings, twisting movement of organic images in space, he the theme of which was probably derived from the does not usually employ the technique to depict ancient statue of , the highlight of the Farnese quick, powerful movement as is common in the familyÕs collection of antiquities.15 Baroque style. Creation is not shown here as an The subject matter is again comparable to unattainably mighty manipulation of forms, but MichelangeloÕs Sistine Chapel in that it implies rather as an emotional, intimate and even relatable scenes which are meant to conclude in of representation of leisurely acquaintances. Indeed, mankind, or in CarracciÕs particular case, the Roman the omnipotent gods are shown subdued and people. The panel of and is the most serene as theyÕve laid aside their divine duties to speciÞc. In its depiction, the goddess and a mortal are ßirt away their time. Fertility as well as sexuality is preparing for intimacy. Venus tenderly rests her foot symbolized by bountiful garlands of fruit and winged upon a stool inscribed in a Latin phrase implying the , also called ÒlovesÓ which are comparable to origin of the Romans. The idea for this painting came MichelangeloÕs putti, advisors of the and from one of the ancient anonymous Greek poems, The . Annibale even incorporated comical images Homeric Hymn to . Such literature was the into the ceiling. From the yawning or bug-eyed source of all of the frescoes of the Farnese Gallery.16 satirical masks to the four giant ignudi Òrocking Some, like Furioso, were based on crazily on their balustrades,Ó14 to mischievous little descriptions of ancient paintings now lost. CarracciÕs cupids wrestling and even relieving themselves, attention to detail was accurate to the degree in which Annibale immortalizes a sense of humor which was one could easily mistake the descriptions of these hopefully appreciated by his patron. ancient paintings to be descriptions of CarracciÕs. Michelangelo illustrated selections from the consists of panels of images while including images of pagan depicting the leisurely romances between anything sibyls. These helped to uphold the philosophy of from gods and goddesses themselves to lusty or Neo-Platonism, as he also included seven prophets unrequited encounters with mortals and half-beasts. from the Old Testament in the spandrels. Carracci Even homosexual encounters are depicted without capitalized on the popular philosophy by decorating so much as the slightest attempt towards modesty. the entire vault with visual interpretations of pagan Many of the images are quite explicit, even erotic, myths and legends. The choices in subject matter and enough to make an unsuspecting visitor blush. would certainly be inßuenced if not entirely chosen by As an interesting and even somewhat comical note, the patron. While Michelangelo, in painting a chapel, Agostino even designed and engraved ÒuncensoredÓ would have been required to represent selections versions of many of the compositions. Apparently, from the Bible, Carracci may have been allowed more Agostino had a very amorous side behind his freedom in the selection of what he depicted. The infamous reputation of intellect and inßuence among origin of the idea for the Sistine Chapel is theoretical. the aristocracy. Some scholars doubt whether Michelangelo could have concocted such ingenious visual relationships According to Charles Dempsey, the painting of among the Þgures, stories, and theories depicted in Venus and is Òthe most explicitlyÉsexual of his frescoes. Based on his own inventive style, he the entire vault.Ó17 VenusÕ abandoned pose and the must have indeed been a genius, and could very likely placement of TritonÕs hand in an area not covered by have created the images from his own perception. cloth in the original cartoon earn this appraisal. This Surely, he was also inßuenced by the church, and the 15 Christopher Braider, Baroque Self Invention and Historical idea of placing Þgures from both theologies must Truth: Hercules at the Crossroads (Vermont: Ashgate have evolved from JuliusÕ original idea to Þll the Publishing Company, 2004), p.129-131. spandrels with images of the twelve disciples. 16 Ward R. Bissell, Andrea Destine and Dwight Miller, Masters of Painting (: D Giles Limited, 2005), p. 14 Charles Dempsey, Annibale Carracci: The Farnese Gallery, 48. Rome (New York: George Braziller Inc., 1995), p. 15. 17 Charles Dempsey, Annibale Carracci: The Farnese Gallery, Rome (New York: George Braziller Inc., 1995), p. 56. fresco and the one facing it from the opposite wall are which were almost entirely inaccessible to painters the only two credited to AnnibaleÕs brother Agostino. of the preceding centuries. For example, AnnibaleÕs Although Annibale was the youngest among the dolphins are nearly identical to RaphaelÕs, yet they artistic Carracci family, he was widely considered the look nothing like the marine mammals we recognize most talented. He even intervened to adjust parts of today. Even MichelangeloÕs Þsh in his fresco of these paintings. the has nostrils, which reveals the Upon closer inspection of the above fresco after immature development of natural science of the time, DempseyÕs observation, one can agree this piece the artistÕs poor observation, or a combination of both. is quite suggestive. However, the panel which CarracciÕs tigers are awkward and disproportionate immediately appeared as the most seductive was with details he must have improvised, having never the painting of and . The positioning of seen a tiger, yet his depictions of goats are beautiful, the Þgures is an implication that there will be sexual suggesting his familiarity with livestock versus activity within seconds. Jupiter seems subdued while exotics. Animal forms other than that of the revered, his wife Juno is unusually dominant. From the eager and almost deiÞed, human Þgure may also have placement of JupiterÕs hands on her leg to her breasts; been treated with less attention towards perfection. enhanced by the low viewpoint and apparently With humanism, the focus was deÞnitely on the defying gravity, this image is outright provocative. proportions and symmetry of the human body. Even The eye contact and facial expressions shared between in his , as well as today, AnnibaleÕs artwork was the two Þgures is enough to convey the message in recognized as exceptional and unusual; today it is a and amongst itself. cornerstone of stylistic transition. It's preceived that the romantic interplay among Annibale Carracci bestowed upon the world of the divine beings to be an unintentional introduction art a masterpiece comparable in its signiÞcance to to the art of the Rococo period. I derive this theory the timeless works of Michelangelo and Raphael. from my observations of CarracciÕs sweeping Through his enhancement of the ceiling of the Palazzo brushwork particularly in his Titian inspired Farnese, he eternalized the climax of his artistic career. landscape18, (although quick, loose brushwork is Sadly, upon the completion of the project, Annibale essential in all fresco painting), combined with became depressed and departed the earthly realm the amorous mood of his creations. Landscape in within a few years. He had reached his pinnacle, had painting also evolved into a distinguishing and even completed the masterwork of his life, and apparently focal feature of the art of the Rococo. Carracci utilized felt he had completed his purpose in life. None of a masterful representation of imagined landscapes his later works were comparable to The Loves of the before had reached this pinnacle. Gods. His frescoes represent the epiphany of a style Indeed, Michelangelo seemed to avoid landscape which he helped to create and immortalize; a style painting, as even in his fresco depicting the Divine both naturalistic and imaginative, physical and separation from light and darkness he dedicated spiritual; which resurrected classicism, and exalted nothing more than a cramped corner to GodÕs entire Neo-Platonism. His efforts in art represent a link creation of ßora. between Mannerism and Baroque, and even hint at I cannot elaborate on his efforts to recreate plant a premature introduction to the Rococo period. His life without including my observations of the animal obsession to produce believable illusions may be Þgures portrayed by Annibale. As a contemporary comparable to that of Paolo Uccello and interest in artist, it is interesting to realize the positive effects of linear perspective. He succeeded in developing his photography and of opportunities to study animals own dramatic style after studying the works of Titian, Raphael and Michelangelo, one that was unlike any, 18 Heinrich Wolfßin, Principles of , Seventh Edition

(New York: Dover Publications, 1950), p.170. but encompassed all, that of Annibale Carracci.

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