Ludovico and Annibale Carracci: A Study of Their Works
Ludovico and Annibale Carracci: Masterpieces
Flagellation (1585)
Musée de la Chartreuse, Douai. 190x265cm. This piece, echoing Annibale’s provision for friezes and character placement, centers around a column where Christ is bound. Compositional balance is achieved with three figures on each side. The architecture is thought to be inspired by Vignola’s Palazzo Bianchi in Bologna, while the background’s spatial coherence hints at Annibale’s contributions. Ludovico’s use of body geometry creates momentum, complemented by natural colors, unidealized faces, and powerfully drawn figures, reminiscent of his Death of Amulio.
Assumption of the Virgin (1580-85)
North Carolina Museum of Art, Raleigh. 245x135cm. Possibly an altarpiece, with a copy at Bologna’s Prefecture Palace, this work presents a unique take on the Assumption. Commissioned by Herminio Zanvecario, it depicts the apostles finding the tomb empty, then witnessing the Virgin’s heavenly revelation, contrasting with traditional depictions. A clear axis divides the Virgin and apostles, separating the supernatural (cool colors) from the natural (warm colors), with clouds as a transition. The perspective study converges on a single vanishing point, framing a cemetery setting. Character expressions vary in grandiosity, with dynamic lines of entry and exit, typical of Carracci’s geometric compositions.
Conversion of St. Paul (1587-88)
National Gallery of Bologna. 280x170cm. Commissioned for a Bolognese family chapel, this piece brings figures closer to the canvas surface, particularly Paul and his rearing horse. Contrasting Caravaggio’s intimate conversions, Carracci presents a public spectacle, with dramatic white light piercing the darkness. Different planes and right-angled diagonals create a dynamic composition. The homogeneous lower color palette suggests Tintoretto’s influence, while Michelangelo’s figures and Parmigianino’s Conversion of St. Paul also resonate.
Madonna Bargellini
Pinacoteca Nazionale Bologna. 282x188cm. Originally for the Buoncompagni Chapel, now Santa Maria del Buen Pastor, this work features four figures (Magdalene, Martha, St. Francis, and St. Dominic) representing family members. While not true portraits, they offer symbolic recognition. The figures possess a sense of movement, balanced around the columns, with angels creating outward momentum. St. Dominic intercedes for the viewer. Frescoes depicting Elijah and St. Gregory’s dream, referencing Pope Gregory XIII, were destroyed in World War II. Fragonard’s etching and preparatory drawings exist. Influences from Correggio’s enthroned Virgin and Titian’s Pesaro Madonna are evident.
Holy Family with St. Francis and Donor (1593)
Cento Pinacoteca Civica. 255x166cm. Signed by Ludovico, this work, commissioned by Giuseppe Piombini for the Capuchins in Cento, features Joseph, St. Francis, and the donor’s parents. Guercino admired this piece. Ludovico revisits his formula, imbuing figures with life while maintaining decorum, using obliquities and placing the Virgin in the background with swirling drapery. A large, contemplative St. Joseph (Michelangelo-esque) joins angels and St. Francis interceding for the donors. Slanting lines create dynamic movement, and the stairs recall Santa Maria Novella’s Holy Trinity. Diagonal planes juxtapose, reminiscent of Renaissance techniques.
Trinity with Christ Died (1590-92)
Vatican Museums. 172.5×126.5cm. Acquired by Cardinal Flavio Chigi, this unconventional Trinity depicts God the Father holding the deceased Christ, with the Holy Spirit above, evoking medieval imagery. Influences from Dürer, Venetian colors, and dramatic chiaroscuro are present, balanced by natural body proportions and poses. Parallel diagonal cuts define the composition.
Martyrdom of St. Ursula (1592)
Pinacoteca di Bologna. 330x218cm. This altarpiece for the Church of St. Leonard and St. Ursula, possibly commissioned by Cistercian nuns, showcases Venetian influences from Tintoretto and Veronese, suggesting Ludovico’s travels there. Rich fabrics and jewelry adorn the figures, with St. Ursula and the Virgin above the 11,000 virgins. Primary colors, dark yet bright, define the figures. A dramatic chiaroscuro highlights Pope Cyriacus, creating symmetry with the Virgin and Child and connecting to St. Bernard. Horizontal planes divide the earthly and heavenly realms. Ludovico’s signature physical expression of emotions is evident.
Flagellation (1592-94)
Pinacoteca Nazionale, Bologna. This series, including a Crowning with Thorns and Pilate on the Porch, was created for the monks of St. Jerome. Originally at the choir entrance, a mocking figure was later removed from Pilate on the Porch. The cold atmosphere contrasts Christ’s ivory skin with the executioners’. The scene, set in a subway-like space, vividly portrays the brutality, with figures’ strength seemingly piercing outwards. Venetian-inspired columns serve as axes, and while the executioners’ faces are impersonal, Christ gazes at the viewer.
Calling of St. Matthew (1607-10)
National Gallery of Bologna. 450x265cm. Commissioned by the Saleroli guild for Santa Maria della Pietà, a church serving the poor and marginalized, this work was part of a larger renovation. St. Matthew, a former tax collector, was the guild’s patron. The monumental figures, reminiscent of classical sculpture, are arranged around a central column. Diurnal light from the right contrasts with Caravaggio’s approach. The aesthetic composition emphasizes verticality, with an idealized Christ gesturing towards Matthew. A theatrical intermediary figure adds drama.
Assumption
East Gallery, Modena. 261x162cm. Signed by Ludovico, this work, commissioned for a convent’s high altar but later acquired by the Este Duke, blends Immaculate Conception iconography with moon, star, and sea motifs. Angels flank the ascending Virgin. Ludovico’s brushstrokes create dynamic, light drapery folds. The ceiling is illusionistic, and the citation references a pseudo-Augustinian text.
Marriage of St. Catherine (1586)
Collection of Odoardo Farnese. This work blends Correggio’s sweetness with Barocci’s devotional style, initiating a cycle of affectionate group scenes by Annibale. Created for Ranuccio Farnese, then given to Odoardo, it features oval-faced women with downcast eyes, superb brocades, and flat colors. The angel engages the viewer, while other characters’ gazes create a circle of emotion. Clouds form a neutral backdrop, emphasizing the visionary aspect of Catherine’s dream, contrasting with Ludovico’s more grounded approach.
Madonna and St. Matthew (1588)
Church of San Prospero, Reggio Emilia. 384x355cm. Signed and dated, this Venetian-influenced sacra conversazione features columns framing the scene. A gold brocade canopy (Barocci-style) tops the composition, with saints (Matthew, John, Francis, John the Baptist, and an angel) below, adoring the Virgin and Child. The Correggio-esque angel embodies Annibale’s ideal beauty. The central canopy frames the Virgin and Child, with saints arranged pyramidally. All attend to the Child, except the angel, who engages the viewer, and Matthew, who copies his gospel. Symbolism includes the Child (and Virgin) breaking a harpy-shaped column. Full colors and a backlit landscape complete the scene.
Madonna and Child in Glory (1589-90)
Pinacoteca Nazionale Bologna. 278x193cm. Created for the high altar of San Luigi e San Alessio, then moved to a Franciscan convent, this work features St. Louis (Ludovico), St. Alexius (a Roman pilgrim), St. Francis, and St. Clare (who repelled Saracens). The classic composition features a central space framed by columns and a window revealing a blue-brown landscape. Fabric motions create dynamism, while clinging drapery maintains a Mannerist touch. Baroque diagonals converge on the Child, the focal point of the circular affection. Dense clouds with shadows support the Virgin and Child.
Assumption of the Virgin (1590)
Prado Museum. 130x97cm. Acquired by Philip IV and donated to the Escorial, this work, brought by the Count of Monterey, presents a traditional 16th-century iconography. The apostles witness the Virgin’s assumption, aligning with Counter-Reformation ideals. Veronese’s influence is evident in the colonnade, off-center Virgin, cool rich colors, and the work’s grandeur. Annibale’s confident spatial articulation and scattered figures create a spiritual atmosphere. Silvery drapery reflections anticipate Rubens and Cortona. The supernatural vision blends with natural space, balancing vertical and horizontal elements. Clouds cast shadows, and a preparatory drawing exists in the Louvre.
San Luca Painting (1592)
Louvre. 401x226cm. This solemn, Venetian-influenced altarpiece portrays St. Luke with passionate eloquence. Titian’s tonal richness and detailed landscapes enhance the work. Annibale’s success in Reggio Emilia and Bologna led to a documented list of commissions in 1593. Subsequent works include a lost Prodigal Son, an Assumption of the Virgin, and ovals for Ferrara’s Palazzo dei Diamanti. A Resurrection of Christ and the Samaritan Woman followed, showcasing collaboration with family members. Venetian influences from Titian and Veronese, along with Correggio, imbue his works with expressive color, sensuality, and vital energy. San Luca introduces noble gestures of devotion.
Assumption of the Virgin (1592)
National Gallery of Bologna. 260x177cm. Dated and inscribed, this third Assumption by Annibale demonstrates his mastery of Counter-Reformation iconography. Venetian hues and reflections in heaven evoke Veronese, while baroque diagonals express the Virgin’s assumption. Figures close to the viewer create a zig-zag composition, with passionate gestures and balanced heights.
Resurrection of Christ (1593)
Louvre. 217x160cm. Dated and documented, this altarpiece for the Lucchini Chapel in Bologna was later donated to the Church of Corpus Domini in Naples. The symmetrical composition centers on Christ, aligned with the tomb and a soldier’s knee. Distinct earthly and heavenly shading recalls his Palazzo Magnani work. Figures and landscape interact with light, enhancing verisimilitude, while realistic still lifes (arms and armor) add detail. Soldiers’ varied responses to the miracle—recognition, fear, and obliviousness—add depth. Christ’s physicality conveys his resurrection, contrasting with the sealed tomb and sleeping soldier. Christ’s fleshy figure contrasts with the muscular soldiers, while natural background tones juxtapose with idealized divine light.
Christ and the Samaritan Woman (1593-94)
Pinacoteca di Brera, Milan. 170x225cm. This overdoor, part of a series with Agostino’s Adultery and Ludovico’s Canaanite Woman, depicts Christ with sinful women. Presented to Farnese in Rome, it showcases Annibale’s evolving style. A drawing by Ludovico served as inspiration, and collaboration between the three Carraccis continued until 1594. Balance, order, and serenity anticipate Poussin, while lyrical language and a lush, backlit landscape enhance the scene. Circular motion, created by figures and Christ’s gesture towards the city, adds dynamism. Correggio-esque figures with languid expressions and monumental bodies dominate. Drapery complements the bodies, with smaller heads. The main group’s contrasting colors stand out against the disciples and environment.
Coronation of the Virgin (1598-99)
Metropolitan Museum of Art, New York. 118x141cm. Created for Pietro Aldobrandini, this work reflects Raphael’s influence (evident in the Stanza della Segnatura), Correggio-esque angels, and sculptural main figures. The Virgin, God the Father, and God the Son form a central group, with clinging drapery. The composition echoes Raphael’s two-band structure, with a sacred landscape above and praising angels below.
Montalto Madonna (1595-97)
National Gallery, London. This devotional work, lost and later auctioned, was named after its owner, Alessandro Peretti Montalto. Its journey included stops in Termini, Rome, Cologne, and Scotland. The UK exercised its right of first refusal, placing it in the National Gallery. Raphaelesque composition and figures characterize the work, with the Virgin, Child, St. John, and St. Elizabeth forming a compact group, while St. Joseph observes. The pyramidal composition features a central section emphasized by columns and a zig-zag diagonal of figures. The landscape, unlike Raphael’s, is detailed, with flat colors. Fluid drapery with large folds clings to the bodies. Gentle profiles and sweet expressions convey familial affection.
Christ in Glory (1600)
Galleria Palatina, Florence. 194x142cm. This politically charged work features a Raphaelesque composition with Christ at the center, arms raised, surrounded by saints. St. Peter and St. John the Evangelist flank Christ, while St. Edward (patron of English kings), St. Hermenegildo (patron of Spanish kings), Mary Magdalene, and a praying Odoardo Farnese occupy the earthly realm. A cripple in the background adds symbolic depth. Odoardo, related to the Lancasters, prays to St. Edward, while St. Hermenegildo represents Habsburg support for Odoardo’s potential claim to the English throne. The Magdalene and cripple symbolize Odoardo’s potential for redemption and promise of benevolent rule. The work served as propaganda for Odoardo’s claim, seeking support from the Church and Pope. Raphael’s Palla of the Five Saints influenced the composition. Balanced masses and intertwined gestures create a compact group. The work resided in Odoardo’s chapel in Rome.
Christ Crowned with Thorns (1598-1600)
National Gallery of Bologna. This Venetian-influenced work, cherished by Annibale, features a light brushstroke and brightly lit, morbid figures. Annibale’s skill in distributing figures within limited space is evident. His landscapes, with figures in the foreground and receding planes of light and shadow, influenced Claude Lorrain and Poussin. The clear horizon contributes to the idyllic setting.
Assumption of the Virgin (1601-02)
Santa Maria del Popolo, Rome. 245x155cm. Commissioned by Tiberio Cerasi, this work faced challenges due to Carlo Maderno’s chapel renovations. Annibale’s work, too low for its placement, was partially obscured, while Caravaggio’s flanking pieces adapted seamlessly. Correggio’s influence persists, but classical concepts dominate, with balanced figures filling the space. Raphael’s Transfiguration likely inspired the color palette and light bursts. Drawn, profiled figures with corporeal presence and stiff drapery characterize the work. Hints of Annibale’s Bolognese frescoes and mythological works are present. Agostino’s death in Parma interrupted Annibale’s Roman work, leaving only the Santa Margarita and the Farnese Gallery vaults completed in 1601. The gallery’s opening brought praise and a commission from Pietro Aldobrandini for Quo Vadis, Domine?, a theme initially intended for the Cerasi Chapel.
Quo Vadis, Domine? (1601-02)
National Gallery, London. This work, influenced by Raphael’s dramatic style, depicts the tense encounter between Peter and Christ. Drawn figures, subtle backgrounds, tight brushwork, and soft faces and bodies characterize the piece. It portrays Peter’s vision of Christ returning to Rome for crucifixion, prompting Peter’s return to the city. Annibale’s versatility and prestige grew after the Farnese Gallery frescoes, solidifying his reputation as a serious and competent artist. His fame reached the Netherlands by 1603. Unlike Raphael, who was surrounded by Leonardo and Michelangelo, Annibale’s unique style lacked such direct inspiration. Both artists established workshops, but with different approaches: Raphael prioritized artistic ideas manifested in drawings, while Annibale emphasized a global Italian style, promoting discipline, copying from nature and masters, and individual expression within a general framework.
Escape to Egypt and Burial of Christ (1602-04)
122x230cm. Started for Pietro Aldobrandini but left unfinished due to conflicts between Aldobrandini and Farnese, this series of lunettes was completed by Francesco Albani. Carracci’s idealism, contrasting with Caravaggio’s naturalism, allowed for a broader range of emotions. His landscapes, like Poussin’s, emphasized harmony and classicism. Carracci’s innovation lay in portraying landscapes as autonomous entities, independent of human events, anticipating Claude Lorrain’s style.