Carracci’s Art: Color, Anatomy, and Michelangelo’s Influence
Annibale Carracci: Color, Anatomy, and Michelangelo’s Influence
Introducing color, but color that is flat and dry, which derives from Raphael and is very fresh. Red and blue are still actors, very well balanced. We have a very cold blue Ariadne and Bacchus in red beside her, putting the note of quality. Balanced tone. The Bacchante in the last shot is one of the most dynamic figures of the composition, not just by the movement of the body, but also the subtle, soft fabrics clinging to the body, allowing us to see all the anatomy in which screws the red cloak that sets the tone for the baroque cherubs along with the superior cloudscape. These cherubs become important figures of glory, breaking the movement. Venus, wrapped in yellow color on the hard canvas, gives it a sense that the light has collided with an object instead of merging with the color, so the figure looks like a sculpture. The figure of Bacchus has young and beautiful faces, unlike the figure of a satyr or faun, thick, of a certain age, who is always drunk before the figure of Dionysus who is always quiet, only his party is courting. The figure of Bacchus is a figure of quite remarkable musculature, anatomy derived from other figures of Michelangelo (ignudi, Sistine Chapel). The designs of these vaults are preserved.
Polyphemus: Fury and Love
Another of the scenes we have is that of the lunettes and gables. There are two scenes related to the figure of Polyphemus, one in love and another furious. He was one of the Cyclops Odysseus facing, driving a stake through his eye. We see rising fury, but he is old, or you intend to boot from the rocks. It is a figure in the Farnese Hercules returns to serve as a precedent. Absolute nakedness and treated with naturalism. It is a figure that marks the turning of the bulls off the legs to create momentum and energy, not a static figure, but it is in full swing, so tell us about the character’s anger at this time. Clear and enveloping light. Figure in the foreground, well drawn, with all its volume and bulk.
We have another immediate model, which is also in the Sistine Chapel by Michelangelo: Last Judgement. We’re seeing Carracci not leave the reference as close to him that is the Sistine Chapel. Polyphemus in love. Mercury and Paris.
Our Lady of Loreto (Virgin of the Pilgrims)
Our Lady of Loreto or Virgin of the Pilgrims: 1603-05, Rome church of St. Augustine.
It is an altar table. The Virgin of Loreto refers to another legend that gets carried through the air. In some pilgrims have come home. He extruded virgin natural Loreto, one with muddy feet, arcándonos a diagonal that leads to the head. The lady with a bonnet. Although we see white earthy. For this dirt, this collection of what was the street uproar commoners did, because they are looking backward, and they did not like anything.
The Prostitute Lena
The daughter of his neighbor posed for the (Church of St. Louis of the French). Is believed to be representing the prostitute Lena. There must be a woman of great beauty. Find a huge contrast between the two old, perfectly natural, but she is not a virgin impact on us from the divine viewpoint. The virgin faces the doorway and starts to chat with these seniors. She has a height that is not normal, it is possible that this disproportionate, very slender neck (the longer the virgin neck has more sanctity has). The height of the blank refers to Mannerist pictures, including one’s own position. Verruguete sculpture. On the way to put the leg in front of the other creates an instability that requires a twisting of the body that comes from mannerism. The same happens with the child, is very long. Theirs is a way of interpreting the sanctity of these two figures. It’s a very human figure which completely failed to give a sense of holiness. Paucity of colors. The full child as protagonist, the light beam. Virgin with the Long Neck, Parmigianino.