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(kärät`chē), family of Italian painters of the Bolognese school, founders of an important academy of painting.

Lodovico Carracci, 1555–1619, a pupil of Tintoretto in Venice, was influenced by Correggio and Titian. He also studied in Bologna, Padua, and Parma. With his cousins, Agostino and Annibale, and with Anthony de la Tour, he established in Bologna an academy of painting that sought to unite in one system the preeminent characteristics of each of the great masters. The school rapidly became one of the outstanding schools in Italy, and Lodovico remained its head until his death. Its noted pupils include Guido Reni, Francesco Albani, and Domenichino. Excelling as a teacher, Lodovico was also a painter of talent and energy. Excellent examples of his art abound in the churches of Bologna and elsewhere in Italy. Among the best are Sermon of John the Baptist (Pinacoteca, Bologna) and Vision of St. Hyacinth (Louvre). His cousin

Agostino Carracci, 1557–1602, left the goldsmith's trade and studied painting with Prospero Fontana. He excelled in engraving and devoted most of his time to it until he joined his cousin and his brother in the founding of their academy and in the execution of numerous joint painting commissions. In 1597 he went to Rome and collaborated with Annibale in the decorating of the Farnese Palace gallery; he executed the admirable frescoes Triumph of Galatea and Rape of Cephalus (cartoons in the National Gall., London). He died in Parma just after completing his great work, Celestial, Terrestrial, and Venal Love, in the Casino. Other notable examples of his art are The Last Communion of St. Jerome (Pinacoteca, Bologna), Adulteress before Christ, and the masterly engraving of Tintoretto's Crucifixion. His brother

Annibale Carracci, 1560–1609, a pupil of Lodovico Carracci, was a painter of unusual skill and versatility. He spent seven years studying the works of the masters, particularly those of Correggio and Parmigianino, in Venice and Parma. Returning to Bologna, he aided in the conducting of the academy school until 1595, when he went to Rome to assist in the Farnese gallery. The ceiling, for which he made thousands of preliminary drawings according to an elaborate structural system, was rich in illusionistic elements. It included feigned architectural and sculptural forms, which had great impact on later painters. Well known among his numerous works are Christ and the Woman of Samaria (Brera, Milan); Flight into Egypt (Doria Gall., Rome); The Dead Christ (Louvre); and The Temptation of St. Anthony (National Gall., London).


See study by D. Posner (2 vol. 1971); National Gallery of Art, The Age of Correggio and the Carracci (1987).



a family of Italian artists of the Bolognese school, representatives of academism. Lodovico Carracci (baptized Apr.21, 1555, in Bologna; died there Nov. 13, 1619) and his cousins Agostino Carracci (born Aug. 15, 1557, in Bologna; died Mar. 22, 1602, in Parma) and Annibale Carracci (born Nov. 3, 1560, in Bologna; died July 15, 1609, in Rome) received their artistic training in Bologna. Their early works show the influences of Correggio, Michelangelo, and Tintoretto. Eclectically combining the devices of these masters, the Carraccis created their own style, which was a reaction against mannerism. They founded the Accademia degli Incamminate (Academy of Those Who Have Entered Upon the Correct Path) in Bologna circa 1585, which played an important role in the development of the principles of academic art. The academy’s methodology included painting from life. At the same time, following the formal traditions of the masters of the High Renaissance, the academy stressed the idealization of reality.

The Carraccis created a new type of altar painting, characterized by monumental compositions, bright colors, and effective foreshortening and representation of gestures. Their altarpieces include the Madonna of Bargellini (Lodovico Carracci, 1588), The Last Communion of St. Jerome (Agostino Carracci, 1591–93)—both are in the National Picture Gallery in Bologna—and the Assumption of the Virgin (Annibale Carracci, 1592) in the Church of Santa Maria del Popólo in Rome. The Carraccis collaborated in the painting of frescoes in several Bolognese palaces, including the Palazzo Fava (1580–85) and the Palazzo Magnani (1588–90).

Annibale Carracci was more talented than Agostino and Lodovico. He worked in Bologna, Parma, Venice, and Rome. Annibale’s genre paintings and portraits are noted for their keen and spontaneous observations (Self-portrait, 1590’s, the Hermitage, Leningrad). His landscape paintings, which are imbued with a sense of the grandeur and harmony of nature, played an important role in the development of the ideal landscape. The frescoes by Annibale and Agostino in the Palazzo Farnese in Rome (1597–1604) anticipated the decorative artistic complexes of the baroque period. In many ways, the two major schools of 17th-century European art—baroque and classical—were based on various elements in the art of the Carraccis.


Catalogo critico del la mostra dei Carracci. Bologna, 1956.
Posner, D. Annibale Carracci. London, 1971.



a family of Italian painters, born in Bologna: Agostino (1557--1602); his brother, Annibale (1560--1609), noted for his frescoes, esp in the Palazzo Farnese, Rome; and their cousin, Ludovico (1555--1619). They were influential in reviving the classical tradition of the Renaissance and founded a teaching academy (1582) in Bologna
References in periodicals archive ?
The 17th-century Roman antiquarian Francesco Angeloni (after 1559-1652) is said to have owned some 600 studies by Annibale Carracci (1560-1609) for his fresco cycles in the Palazzo Farnese, many of which were later acquired by French collectors and eventually made their way into the Cabinet des Dessins of the Louvre.
8) Nearby was the seductive and unabashedly lascivious canvas painted by Annibale Carracci of Venus with a Satyr and two Cherubs (c.
34) Fragments of Agucchi's treatise were first published by Giovanni Atanasio Mosini as Diverse figure da Annibale Carracci intagliate in rame da Simone Guilino Parigino (Rome, 1646).
1554-1626), as well as those by Annibale Carracci (1560-1609) and Domenichino (1581-1641), whose landscapes most closely embody the conventions Mancini regarded as constitutive of the genre.
The thesis of "The Genius of Rome" is that the defining characteristics of the Baroque were formulated in the paintings of three immensely gifted individuals working in the Eternal City in the earliest years of this glorious era: Caravaggio (born 1571) who came to Rome in 1592 after an apprenticeship in Milan; Annibale Carracci (born 1560) who arrived from Bologna two years later; and Peter Paul Rubens (born 1577) who left Flanders for a long stay in Italy in 1600 and spent extended periods in Rome in 1603 and from 1606 to 1608 while serving as court painter to the Duke of Mantua.
In this regard, modern art, as we see in lectures on Annibale Carracci and Caravaggio, was preceded by the Italian experience in which Carracci's attempt to maintain the Christian logos was replaced by Caravaggio's technique in which "language became a stranger to itself.
Highlights include an Annibale Carracci pencil sketch of a seated male nude at Bologna-based Fondantico, and a gold-ground painting entitled Madonna adoring the Christ Child with St John the Baptist, attributed to Pseudo Pier Francesco Fiorentino (active 1474-97), at the stand of Moretti.
The ghost at the banquet is Annibale Carracci, one of Tintoretto's most acute observers, whose art owes so much to him, and who famously wrote to his cousin Ludovico (quoted by Falomir in his introductory essay, 17) that, "I have sometimes seen Tintoretto as equal to Titian, and at other times inferior to Tintoretto.
By the time she arrived in Rome, Caravaggio and Annibale Carracci, along with their patrons, had dramatically changed the production of art in the city.
The difficulty for open-minded students like myself who did not see that show, was to understand how such a provocative approach could be made for works that seemed so seamlessly to fit into a tradition of elegant European landscapes running from Annibale Carracci to Nicolas Poussin, Claude Lorrain, and Gaspard Dughet, from Claude-Joseph Vernet through Thomas Gainsborough, Hubert Robert, J.
Spagnolo's discussion begins with the two letters, published by Carlo Cesare Malvasia in his Felsina Pittrice (1678), which Annibale Carracci addressed to his cousin Ludovico Carracci from Parma in 1580, the authenticity of which has been disputed.
It assembled oil studies by Annibale Carracci alongside portraits by Lucian Freud, including the former's Head of an Old Woman (c.