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The Lascivie: Agostino Carracci's Erotic Prints As THE LASCIVIE: AGOSTINO CARRACCI’S EROTIC PRINTS AS THE SOURCES FOR THE FARNESE GALLERY VAULT by WAVERLEY WREN EUBANKS (Under the Direction of Shelley E. Zuraw) ABSTRACT Agostino Carracci (1557-1602) has long been extolled as one of Italy’s most skilled engravers, primarily in regard to his refined reproductive prints after Italian master paintings. The present study, however, pertains to prints after Agostino’s own designs—the erotic series known as the Lascivie (c. 1590-1595). These sensual prints, often overlooked, embody the principles of the artistic reform effectuated by Agostino, his brother Annibale (1560-1609), and their cousin Ludovico (1555-1619) in their native Bologna soon after the Counter-Reformation. The Lascivie, as will be argued, are the antecedents to what is considered the pinnacle of the Carracci’s oeuvre and their reformed style, namely, the fresco cycle adorning the Farnese Gallery vault in Rome, an achievement traditionally credited to Annibale. It is Agostino’s erudition and the artistic method he employed in composing the Lascivie, however, that reveal him to be the likelier mastermind behind the complex conceits of the Farnese Gallery, and even the generator of the precepts of the Carracci’s reformed style. INDEX WORDS: Agostino Carracci, the Lascivie, Annibale Carracci, Ludovico Carracci, the Carracci Academy, reform in painting, the Farnese Gallery, erotic prints, Renaissance Italy, Baroque Italy, Bologna, Rome THE LASCIVIE: AGOSTINO CARRACCI’S EROTIC PRINTS AS THE SOURCES FOR THE FARNESE GALLERY VAULT by WAVERLEY WREN EUBANKS B.A., The University of Georgia, 2004 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2008 © 2008 Waverley Wren Eubanks All Rights Reserved THE LASCIVIE: AGOSTINO CARRACCI’S EROTIC PRINTS AS THE SOURCES FOR THE FARNESE GALLERY VAULT by WAVERLEY WREN EUBANKS Major Professor: Shelley E. Zuraw Committee: Asen Kirin Frances Van Keuren Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2008 iv DEDICATION For my darling mother, Sharon Lamb Eubanks, whose love of learning and knowledge and whose love for her children have made our lives merry and made this endeavor possible. v ACKNOWLEDGEMENTS I would like to acknowledge the entire faculty of the Art History department at the University of Georgia with whom I have had the privilege of working from 2002 to 2008. Their unsurpassed knowledge in their field and their dedication to their students was not only inspiring, but also humbling. I would especially like to thank my committee members, Dr. Asen Kirin and Dr. Frances Van Keuren for their patience and insight. Special recognition is due to Dr. Shelley E. Zuraw for her tireless intellect, zeal, and support, which have made my years in the department the most fulfilling and the most integral to my intellectual and personal development. I must also thank my dear parents, Sharon Lamb Eubanks and Benjamin Eubanks, for their endless support and encouragement in all my pursuits and passions, for letting me be just who I am, for allowing me to make my own decisions as well as my own mistakes, and for always being there when I need them. vi TABLE OF CONTENTS Page ACKNOWLEDGEMENTS........................................................................................................ v LIST OF FIGURES................................................................................................................. viii INTRODUCTION...................................................................................................................... 1 CHAPTER 1 THE CONTEXT OF THE LASCIVIE......................................................................... 3 Erotic Art in Renaissance Italy.............................................................................. 3 Description of the Lascivie.................................................................................... 9 2 AGOSTINO AS IL DOTTO AND THE BIRTH OF THE CARRACCI ACADEMY.........................................................................................................26 Agostino’s Education and Artistic Training .........................................................26 The Formation of the Carracci Academy and Its Resulting Principles Within the Intellectual Milieu of Bologna ......................................................32 The Carracci’s “Eclecticism” and Reformed Style and Agostino’s Contribution as il dotto...................................................................................41 3 AGOSTINO’S SOURCES FOR THE LASCIVIE AND THEIR ANTIQUE PROTOTYPES AS PRECURSORS TO THE CLASSICISM IN THE FARNESE GALLERY........................................................................................51 I modi ..................................................................................................................51 4 THE FARNESE GALLERY....................................................................................59 vii A Brief Introduction to the Farnese Palace...........................................................59 The Carracci Commission....................................................................................61 The Issue of the Literary Adviser.........................................................................84 5 CONCLUSION........................................................................................................96 BIBLIOGRAPHY...................................................................................................................193 viii LIST OF FIGURES Page Figure 1: Agostino Carracci, Reciproco Amore, engraving, c. 1589-1595, Baltimore Museum of Art, Baltimore.........................................................................................98 Figure 2: Agostino Carracci, Love in the Golden Age, engraving, c. 1589-1595, Bibliothèque Nationale, Paris ....................................................................................99 Figure 3: Agostino Carracci, Susanna and the Elders, engraving, c. 1590-1595, Metropolitan Museum of Art, New York.................................................................100 Figure 4: Annibale Carracci, Susanna and the Elders, etching and engraving, c. 1590- 1595, National Gallery of Art, Washington, D.C......................................................101 Figure 5: Ludovico Carracci, Susanna and the Elders, oil on canvas, c. 1598, Banca Popolare dell’Emilia Romagna, Modena..................................................................102 Figure 6: Ludovico Carracci, Susanna and the Elders, oil on canvas, c. 1616, National Gallery, London. .....................................................................................................103 Figure 7: Agostino Carracci, Lot and His Daughters, engraving, c. 1590-1595, Metropolitan Museum of Art, New York.................................................................104 Figure 8: Roman, Mazarin Venus, marble, c. 100-200 A.D., J. Paul Getty Museum, Malibu.....................................................................................................................105 Figure 9: Raphael School, drawing of the Mazarin Venus, 16th century, Ashmolean Museum, Oxford .....................................................................................................106 ix Figure 10: Agostino Carracci, Orpheus and Eurydice, engraving, c. 1590-1595, Graphische Sammlung Albertina, Vienna ................................................................107 Figure 11: Roman, Laocoön, marble, c. 100-200 A.D., Vatican, Rome....................................108 Figure 12: Signed by Apollonios, Belvedere Torso, marble copy, 1st century B.C., Vatican, Rome.........................................................................................................109 Figure 13: Agostino Carracci, Andromeda, engraving, c. 1590-1595, Metropolitan Museum of Art, New York......................................................................................110 Figure 14: Agostino Carracci, Andromeda or Hesione, engraving, c. 1590-1595, New York Public Library, New York...............................................................................111 Figure 15: Agostino Carracci, Galatea or Venus, engraving, c. 1590-1595, National Gallery of Art, Washington, D.C. ............................................................................112 Figure 16: Agostino Carracci, Venus Punishing Profane Love, engraving, c. 1590-1595, Philadelphia Museum of Art, Philadelphia...............................................................113 Figure 17: Emblem CIX, woodcut from A. Alciati’s Emblematum Liber, 1531.......................114 Figure 18: Bolognino Zaltieri, Eros, Anteros, and Lyseros, woodcut from V. Cartari’s Le Imagini delli dei de gli antichi, 1571........................................................................115 Figure 19: Giulio Bonasone, Symbol VII, engraving from A. Bocchi’s Symbolicarum Quaestionum, 1574..................................................................................................116 Figure 20: Giulio Bonasone, Symbol XX, engraving from A. Bocchi’s Symbolicarum Quaestionum, 1574..................................................................................................117 Figure 21: Giulio Bonasone, Symbol LXXX, engraving from A. Bocchi’s Symbolicarum Quaestionum, 1574..................................................................................................118
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