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The reproductions of the Pieta multiplied, with varying quality. Among the verified copies, the best is that at the
Galleria Doria Pamphilj, which was once thought to be an autographed copy by Carracci himself. Worse copies were sometimes made from the engravings of the work, which can be seen in the
187:
reflect the observations of
Carracci on Michelangelo's statue and the way in which he recreated it. In the first drawings, the body of Christ is positioned more similarly to the Michelangelo statue, with the difference that the body is not placed in the lap of Marie but on the tomb. The Virgin Marie
255:
The body of Jesus has an
Apollonian beauty, on which the wounds of the Passion have just been inflicted. The sculptural vigor of Jesus is associated with the great attention that Carracci gave to classical statuary and the great works of the Roman Renaissance, which are bound to the frescoes of the
236:
The whole group is placed just before the still-open tomb (perhaps an allusion to Jesus' resurrection) and on rough earth. The darkness of night enshrouds Marie, her son, and the angels, which emerge from the shadows thanks to the effects of light and color that pervade the painting. The lights and
228:
Also like
Michelangelo, Carracci adopted a pyramidal compositional scheme in which he inserted a little angel that holds the left hand of Jesus. A second angel, on the right side of the canvas, pricks its finger on Jesus' crown of thorns. This second angel looks out directly at the viewer and
224:
The final result is an original combination of its two models. As
Michelangelo, Carracci depicted the composed, poignant suffering of Marie, who delicately cradles her son's head in her right hand. Their faces are brought forward by the way Marie leans over the body of Christ.
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also refers to. This exchange was part of a long-distance dialog between the two painters, who both came from the north of Italy to Rome at the end of the 16th century and beginning of the 17th and caused lasting changes in the tradition of painting.
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In the last version, the composition changed; it looks more like the final painting: the body of Christ is placed so his shoulders and legs are in Marie's lap, which creates an intimate link between them in a way reminiscent of
Michelangelo's
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266:(another specialist on the theme of the Pietà) also influenced the painting. This Venetian painter was well known to Carracci, and several of his works were even possessed by Odoardo Farnese.
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For its location, the format of the painting indicates that it might have been intended for the private devotion of its commissioner. Therefore, it would have been kept at the chapel of the
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207:. Marie is, however, seated on the earth (and not on a throne, as in the Vatican statue), and Jesus' legs are on the ground and stretched over a shroud. Those elements are shared with the
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engraving. For example, Van Dyck's paintings share compositional similarities, Christ's sculptural beauty, and the hand of Christ held delicately by a supporter.
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217:. Carracci had studied that work as a young man. He had even revisited that the work only a little before the Farnese commission, which resulted in an engraving
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was among the works that attracted attention and were reproduced in engravings in various parts of Europe throughout the 16th century and into the 17th.
233:. The left hand of Marie, in a clever foreshortening, presents a gesture of resigned sadness. Even this detail is a homage to the statue of Michelangelo.
1009:
Annibale
Carracci e i suoi incisori, in Les Carrache et les décors profanes. Actes du colloque de Rome (2-4 octobre 1986) Rome: École Française de Rome
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in Rome or another
Farnese mansion. There is a 16th century traveler's account that refers to an admirable Pietà by Carracci, seen in the
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120:. It's unknown, however, whether that refers to the Pietà now in Naples or another work. For stylistic reasons, the Naples
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In multiple versions of the theme of the "lamentation" by Van Dyck, there is evidence of the influence of
Carracci's
980:
Mostra dei
Carracci, 1 settembre-25 novembre 1956, Bologna. Palazzo dell'Archiginnasio; Catalogo critico delle opere
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frescoes in the Farnese Gallery ignited general interest in graphical reproductions of his other works. The
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The numberless copies and derivations of this painting established it as a canonical representation of the
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Docere delectare movere: affetti, devozione e retorica nel linguaggio artistico del primo barocco romano
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730:. Carracci's work stimulated Caravaggio to personally reinterpret the sculpture of Michelangelo, which
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left from Rome to Parma and was then brought to its new location in Naples, where it is today.
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colors confer on the painting an atmosphere of intimate emotion that also recalls Correggio.
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89:. It moved from Rome to Parma to Naples as part of the Farnese collection and is now in the
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See the essays by Maria Grazia Bernardini (pp. 23-24) and Luciano Arcangeli (pp. 36,38) in
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invites, with its expression of adoration, reflection on the suffering of Jesus during the
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109:. It is unknown, however, what its original destination was or the date of its execution.
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701:, Rome received another masterpiece dedicated to the moment of the Passion of Christ:
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The first study to draw this relationship was written by Denis Mahon in 1956.
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Boschloo, Anton (1998). "Annibale Carracci: Rappresentazioni della Pietà".
93:
in Naples. It is one of many 16th century Bolognese paintings dedicated to
18:
Painting by Annibale Carracci in the National Museum of Capodimonte, Naples
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156 cm × 149 cm (61 in × 59 in)
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Annibale Carracci: A Study in the reform of Italian Painting around 1590
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The dating of this painting is owed to records of its commission by
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Saint Didacus of Alcalá Presenting Juan de Herrera's Son to Christ
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The Madonna and Sleeping Child with the Infant St John the Baptist
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239:
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153:
917:
Annibale Carracci, Catalogo della mostra Bologna e Roma 2006-2007
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477:"controparte," or inverted, composition they sometimes show.
850:"Web Gallery of Art, searchable fine arts image database"
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during his journeys to Rome early in the 17th century.
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Web Gallery of Art, searchable fine arts image database
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The Virgin Appears to Saint Luke and Saint Catherine
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Madonna and Child in Glory over the City of Bologna
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Pietà with Saints Clare, Francis and Mary Magdalene
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97:, and it is counted among Carracci's masterpieces.
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260:is thought to be contemporary to those frescoes.
1566:Pietà with Saint Francis and Saint Mary Magdalene
1514:Portrait of Monsignor Giovanni Battista Agucchi
1369:Christ in Glory with Saints and Odoardo Farnese
561:Copy at the church of Saint Peter and Paul of
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274:The relation of three drawings to Carracci's
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1059:: CS1 maint: location missing publisher (
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929:: CS1 maint: location missing publisher (
915:Van Tuyll Van Serooskerken, Carel (2006).
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897:: CS1 maint: location missing publisher (
697:A little after the creation of Carracci's
183:. Three preliminary studies of Carracci's
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20:
1474:Portable Altarpiece with Pietà and Saints
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256:Galleria Farnese. For this reason, this
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81:is a c. 1600 oil on canvas painting by
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1668:Paintings in the Museo di Capodimonte
1011:(in Italian). Rome. pp. 526–534.
825:Koninklijk Museum voor Schone Kunsten
779:Koninklijk Museum voor Schone Kunsten
7:
1526:Landscape with the Flight into Egypt
1186:The Mystic Marriage of St Catherine
953:(in Italian). Rome. pp. 54–55.
576:Copy of the Museo di belle arti di
433:Engraving by Jean-Baptiste Haussard
188:is instead kneeling beside Jesus.
175:of Carracci undoubtedly references
124:is dated to between 1598 and 1600.
14:
1218:Venus with a Satyr and Two Cupids
919:(in Italian). Milan. p. 378.
394:Engraving by Stephan Colbenschlag
127:Like almost all the works in the
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665:Galleria nazionale d'arte antica
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345:The great success of Carracci's
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1658:Paintings by Annibale Carracci
1330:Christ and the Canaanite Woman
1290:Christ and the Samaritan Woman
370:Engraving by Pieter de Bailliu
91:National Museum of Capodimonte
1:
1542:Rest on the Flight into Egypt
1266:Madonna and Child with Saints
1210:Madonna and Child with Saints
1162:An Allegory of Truth and Time
747:apparently studied Carraci's
711:in 1602–1604 for a chapel of
546:Copy with variations, at the
978:Cavalli, Gian Carlo (1956).
118:Palazzo Farnese of Caprarola
1617:Accademia degli Incamminati
1506:The Martyrdom of St Stephen
1434:The Three Marys at the Tomb
1194:The Vision of Saint Eustace
1047:Van Dyck. Riflessi italiani
1684:
1409:Christ Crowned with Thorns
1401:Christ Crowned with Thorns
1377:The Death of Saint Francis
1202:Two Children Teasing a Cat
1049:(in Italian). Milan. 2004.
793:Van Dyck, 1628-30, Munich
421:Engraving by Isaac Beckett
382:Engraving by Joost de Pape
198:by Annibale Carracci, 1597
177:Michelangelo's celebrated
1622:Palazzo Sampieri frescoes
1498:Self-Portrait on an Easel
1385:Saint Margaret of Antioch
739:Van Dyck and lamentations
713:Santa Maria in Vallicella
28:
1450:Assumption of the Virgin
1242:Assumption of the Virgin
1234:Self-Portrait in Profile
704:The Entombment of Christ
687:The Entombment of Christ
677:The Entombment of Christ
643:Giovanni Battista Gaulli
531:, church of San Nicola,
1582:The Birth of the Virgin
1534:The Dead Christ Mourned
1458:Saint Gregory at Prayer
1346:Venus, Adonis and Cupid
1146:Crucifixion with Saints
1007:Borea, Evelina (1988).
982:. Bologna. p. 242.
883:Posner, Donald (1971).
810:Bilbao Fine Arts Museum
628:Monastero dell'Escorial
548:Dulwich Picture Gallery
494:Galleria Doria Pamphilj
1648:Paintings of the Pietà
1359:The Choice of Hercules
1298:Saint Roch Giving Alms
887:. London. p. 110.
694:
472:Copies and derivations
462:Giovanni Paolo Lasinio
252:
199:
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95:the theme of the Pietà
1574:The Loves of the Gods
1482:Pietà with Two Angels
685:
348:The Loves of the Gods
264:Sebastiano del Piombo
249:Sebastiano del Piombo
243:
194:
157:
150:Description and style
1338:Entombment of Christ
743:The Flemish painter
270:Preparatory drawings
68:Museo di Capodimonte
808:Van Dyck, 1634-40,
717:Pinacoteca Vaticana
1653:Farnese Collection
1442:Rinaldo and Armida
1122:The Laughing Youth
760:Pietà di Caprarola
715:(it is now in the
695:
327:Private Collection
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219:Pietà di Caprarola
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196:Pietà di Caprarola
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129:Farnese Collection
1635:
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1606:Ludovico Carracci
1600:Agostino Carracci
1466:Domine quo vadis?
1453:(Rome; 1600–1601)
1170:Baptism of Christ
1116:List of paintings
1102:Annibale Carracci
758:painting and the
661:Ludovico Carracci
278:was suggested by
245:The Viterbo Pietà
83:Annibale Carracci
74:
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42:Annibale Carracci
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1353:Camerino Farnese
1154:Corpse of Christ
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280:Rudolf Wittkower
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675:Caravaggio's
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408:Pietro del Pò
406:Engraving by
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131:, Carracci's
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1612:The Carracci
1580:
1572:
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1496:
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1367:
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1344:
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1304:
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1280:
1274:Resurrection
1272:
1264:
1256:
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1240:
1232:
1224:
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1208:
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1192:
1184:
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1128:
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1046:
1040:
1031:
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979:
973:
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916:
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857:. Retrieved
853:
844:
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742:
731:
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595:of Stockholm
591:Copy at the
578:Valenciennes
492:Copy at the
475:
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77:
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15:
1585:(1605–1609)
1569:(1602–1607)
1553:(1600–1605)
1501:(1603–1604)
1404:(1598–1600)
1396:(1598–1600)
1380:(1597–1598)
1333:(1594–1595)
1301:(1587–1595)
1293:(1593–1594)
1229:(1587–1590)
1226:Lamentation
1221:(1588–1590)
1205:(1587–1588)
1197:(1585–1586)
1165:(1584–1585)
1157:(1583–1585)
1133:(1580–1590)
707:painted by
515:di Avignone
210:Lamentation
160:Lamentation
1642:Categories
836:References
709:Caravaggio
691:Caravaggio
341:Engravings
56:Dimensions
1602:(brother)
1561:(c. 1606)
1545:(c. 1604)
1537:(c. 1604)
1529:(c. 1604)
1493:(c. 1603)
1485:(c. 1603)
1469:(c. 1602)
1445:(c. 1601)
1437:(c. 1600)
1429:(c. 1600)
1411:(Bologna)
1349:(c. 1595)
1341:(c. 1595)
1325:(c. 1590)
1285:(c. 1593)
1189:(c. 1585)
1109:Paintings
1055:cite book
1017:cite book
988:cite book
959:cite book
925:cite book
893:cite book
827:, Antwerp
781:, Antwerp
533:Marignane
336:Influence
251:, c. 1515
215:Correggio
167:, c. 1524
165:Correggio
1608:(cousin)
1519:disputed
1517:(1604) (
859:15 April
641:Copy by
622:Copy by
70:, Naples
64:Location
1593:Related
1314:Hunting
1306:Fishing
1237:(1590s)
1125:(1580s)
563:Gonesse
231:Passion
144:Baroque
142:in the
101:History
51:c. 1600
1577:(1608)
1477:(1603)
1388:(1599)
1362:(1596)
1277:(1593)
1269:(1593)
1261:(1593)
1253:(1592)
1213:(1588)
1181:(1585)
1173:(1585)
1149:(1583)
1141:(1583)
181:statue
146:era.
38:Artist
1550:Danaë
1426:Pietà
756:Pietà
749:Pietà
728:Pietà
699:Pietà
353:Pietà
276:Pietà
258:Pietà
205:Pietà
185:Pietà
179:Pietà
173:Pietà
140:Pietà
133:Pietà
122:Pietà
78:Pietà
24:Pietà
1061:link
1023:link
994:link
965:link
931:link
899:link
861:2019
171:The
48:Year
719:).
689:by
247:by
221:.
213:of
163:of
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852:.
645:,
626:,
511:,
1521:)
1094:e
1087:t
1080:v
1063:)
1025:)
996:)
967:)
933:)
901:)
863:.
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