Carracci’s Masterpieces: Religious and Mythological Art
Correggio’s *Allegory of Virtue* (1532-34)
In Correggio’s *Allegory of Virtue*, the figure of virtue replaces a tomb. A seated figure is depicted, with only a foot visible. There is a disconnect between the burst of glory above and the scene below. Correggio seemingly intended to depict a rebirth, bridging the two sections.
Annibale Carracci’s *Appearance of the Virgin to Saint Luke and Saint Catherine* (1592)
This large painting, signed and dated, was commissioned in 1589 by the association of notaries for a chapel in the cathedral of Reggio Emilia. Bellori noted that it was moved from its intended chapel to the choir due to its dark tonality. The darkness stems from the golden light at the top, which casts a deep shadow, reminiscent of Correggio’s style. The predominant color is red, with diminishing light in the darker areas. The landscape features a central, cold light that contrasts with the rest of the painting.
The composition depicts a sacred conversation between the Virgin, Child, and saints. The three figures are dynamically posed, with strong foreshortening creating internal movement. The interplay of gestures and gazes draws the viewer’s eye around the composition. This dynamic movement is characteristic of the Baroque style. The viewer’s perspective is from below, looking up at the Virgin, who in turn looks at the Apostle, whose open arms reveal the miracle. This creates a continuous movement from the outside in and within the painting.
Saint Luke is depicted as an ordinary man, strongly built and dressed in a robe. Saint Catherine, however, has a delicate face, reminiscent of Barocci’s style. The Virgin is shown in a challenging contrapposto pose, with an open, flowing movement. The light varies across the figures. The male figures’ robes are illuminated where the fabric clings to the body, while folds are highlighted with silvery tones. This technique is also used in the red of the Virgin’s robe and the sleeves of Saint Catherine, drawing attention to these figures. The figures are somewhat sketchy in their rendering.
Precedents
Raphael’s *Madonna of Foligno* (1512)
This painting marks a transition towards Mannerism in Raphael’s work. The equilateral triangle composition, typical of his Florentine period, is broken. Upon arriving in Rome, Raphael began to embrace Mannerism, and his Virgins became less frontal, exhibiting an instability that disrupts the symmetry of the equilateral triangle. The Child, reminiscent of Michelangelo’s style, is depicted with chubby legs and a muscular physique. The key element is the sense of instability.
The Virgin and Child form the central axis, flanked by patron saints and the donor. The composition is symmetrical. The background features a curtain illuminated by moonlight, rendering the angels in white, allowing the figures to stand out more sharply. The figures are depicted with a Roman influence, lacking tonal color and contrasting dark and light areas. Some figures are used to connect others, but always in a downward direction.
Titian’s *Madonna in Glory with Saints Francis and Alvise and Donor* (1520)
In this work, the instability seen in Raphael’s *Madonna of Foligno* is even more pronounced. The Virgin is depicted more humanely, seated on a cloud and moving in a specific direction. The movement is more spontaneous. The contrasts between light and shadow are extremely violent, with the golden tones becoming more intense.
Annibale Carracci’s *Christ in Glory with Saints* (1597-1598)
This painting is linked to Cardinal Odoardo Farnese, who served as a major patron from 1594 to 1605. Odoardo was the brother of Ranuccio Farnese, and both were sons of Alessandro Farnese. Odoardo became a cardinal in 1591, moved to Rome, and resided in the Palazzo Farnese. While the palace was complete, its decoration was not. He commissioned the Carracci, who had previously worked for him in Parma.
The donor is integrated into the sacred conversation, depicted in a cardinal’s red cape and protected by Saint Edward. Saint Hermenegildo stands before him, and Saint Catherine is also present, as is customary. The composition mirrors previous works, with a division between the two sections. The foreground figures are monumental, well-defined, but with a limited tonal range, reflecting Carracci’s Roman period. The background features sunset hues reminiscent of Correggio.
An ‘L’ shape is used to mark the vanishing point, adhering to the geometric composition of the Renaissance. Light is also used playfully, with alternating areas of light and shadow guiding the viewer to the final focal point. Characters and houses are introduced, and the scale of the images changes as they recede into the distance. At the top, Christ is depicted in an unstable pose, with one leg appearing shorter than the other due to foreshortening, as are Saint Peter and Saint John the Baptist.
Mythological Painting
The Carracci’s mythological style is less defined. In 1590, they collaborated on frescoes in the Palazzo Magnani in Bologna, depicting stories of Romulus and Remus. These works are notable for their connection to a room in Venice, created between 1587 and 1588.