Annibale Carracci: Baroque Art and Landscape Evolution
_Full appearing. In the foreground, we see children playing with different objects. This is still a kind of red quilt on which stresses the body of the goddess, which is completely naked, without fabric (figure sculpture, direct light, and shades AGRIS). It also introduces the curtain on the goddess, closing the composition, calling attention to this image. The curtains have blue and silver tones, hard too. Hue is derived from Veronese and continues within the memory of the Venetian. The rest of the membership is open to the landscape in different ways, but in different ways. We see that the horizon line is now complete; we are going to lose the classical view of geometric perspective. The open landscapes, becoming more extensive, there are no vanishing points, if not to be a succession of planes in depth in the light guided our gaze. We have a bright light (Rafael), but broad and encompassing, it does not create sudden and violent tones (Venice). To reach the horizon we see what lies ahead: three little cherubs, shadow, light, shadow, light, rocks, and horizon line (sequence of plans that guide our in-depth look close to last. The baroque is movement. The artist makes us get into the play. That way we end up seeing the entire composition. With Children is introducing the human hand in front of the goddess who has a more statuesque. They are children playing in the most diverse attitudes. Shall the first painter of the Baroque that we gradually enter into the landscape as a subject. At the end disappear figures in the foreground until incorporated into the landscape (compared to the toilet of Venus)._
Relationships:
Giorgione, Titian, Venus asleep
We start with a beautiful Venus, Venus to reach a more ugly and natural. It is the first full nude Venus encounter. Titian ending landscape. 1510-11. Figure asleep and relaxed, shows any nudity. By lifting the left arm to see the whole outline of the body (Christ of Baroque sculpture.)
Titian, Venus of Urbino
1538. It maintains the same composition as the first Venus. The figures in the foreground, cut, color on a bed in lipstick. Quality of material, also a staple in the Baroque. The white sheet becomes a light bulb that surrounds the body of the young. In a way, is causing us (watching us). Different attitude toward the former. The color is different with that of the Carracci because they are much softer. We see the lines of the horizon with a much more golden light against the whiteness of the school browned.
Titian, The Garden of Venus
It is one of his first great works. The children remind us of the box Carracci’s Venus. What matters is the garden town of Cupids, Titian and we are marking naturalism, while the figure is a statue of Venus. The horizon is clear because in the first stage of Titian see a bright light, but as it progresses becomes more diffused. Shows two young men who have nothing to do, are two young men who belong to his time (red and blue).
During this period, in relation to Venice, is becoming its first performances independently landscape theme.
Giorgione’s Tempest
The first to interpret the figures in a landscape area, not something out of the landscape.
La Pesca, A. Carracci, 1588
We are random landscapes, where the subject is light (dark area, light, dark, clear, that leads to the horizon). Living nature, which are inserted small size figures to fit the proportions of the landscape. Natural still putting figures in the foreground, to get going putting smaller figures in other planes.
River Landscape, A. Carracci, 1589
White light of morning, the leaves shine light on impact. Recreation of light in relation to color, something he has learned in Venice, as the light plays with color and shades are changing depending on how light paste. Essentially seeks light.
Rome Annibale Carracci, 1594-1609
In 1592 he settled in Rome, in the family palace, Odorico Farnese cardinal last year, aged 18. Ranuccio was brother and sons of Alexander. In 1594 Annibale and Agostino called to Rome in order to paint the main hall of the main companies aplació narrating from his father. As you prepare, visit the Vatican and impressed by the works of Raphael and Michelangelo.
Odoardo resignation in 1595 to make these fresh. Agostino returned to Parma, entered the service of Ranucci, and Hannibal accepts Odoardo paint the clubhouse, settling in Rome.
Cesari Chapel, 1601-1602, Santa Maria del Popolo.
Assumption of the Virgin, 1587-90
Latest model assumption. For an upper-class family who commissioned the chapel in one of the most important churches of Rome. There is no tonal variation, the light is bound, clashes sharply with the figures giving an aspect of sculpture. The other assumption in the oil change is much more involved in oil so the painting is more dispersed. We can see a series of tones that the second does not exist. In this, we have recovered the foreground. In Bologna, he was acquiring a spatial trend towards the bottom due to the influence of Correggio. Everything has come forward to remind the mannerist compositions in which objects were cut, so the space would continue in ours. Figures are heavier and are more drawn. The light is more uniform because a single bulb illuminates all the initial figures, highlighting the great triangle that is formed from the main figures. The Virgin makes a note of absolute baroque composition: upward movement beginning to see Titian has been transformed into a more exaggerated movement, the same figure of the Virgin print movement with a life force. The light contrast with the golden background that appears behind the Virgin pro and that is what makes the memory of Titian and Tintoretto, Veronese face that was silver. This letter reminds us of the golden warmth of Venetian gold serves to highlight the arms of the Virgin.