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Showing 1 to 8 of 8 (0.029 seconds)Spelling suggestions: "subject:"carracci"" "subject:"narracci""
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THE CARRACCI AND VENICE: ANNIBALE CARRACCI’S STYLISTIC RESPONSE TO VENETIAN ART, AND THE INTERMEDIATE ROLES OF LUDOVICO AND AGOSTINO CARRACCICopp, Catherine 27 May 2014 (has links)
It has always been acknowledged that Venetian art was one of the components from which Annibale Carracci formed his painting style. There is little documentary evidence concerning Annibale’s career and no Venetian sources to inform us of his contact with Venice. Taking his art as the primary source, this study examines the timing and nature of Annibale’s contact with Venetian art and artists. It also investigates the works of his brother Agostino and his cousin Ludovico to discover their roles in directing Annibale towards Venetian art and communicating its qualities to him. The working method used is comparative analysis between Annibale’s art and key paintings he could have seen in Venice and North Italian collections. Sources such as the early biographies and the marginal comments in the Carracci’s copy of Vasari’s Vite supplement the primary artistic evidence. This study compiles and critically engages with analyses from previous scholarship. The thesis investigates the role of prints in the early orientation of the Carracci in Bologna, particularly those reproducing Titian’s work, and how these affected Annibale’s ideas about composition and the representation of figures and landscape. It reconsiders Agostino’s role as an engraver of Venetian paintings in transmitting ideas about Venetian art to Annibale. The Carracci practice of copying other artists is reviewed with a scenario tendered to explain why Annibale copied Correggio and Titian, but not Bassano, Veronese, or Tintoretto. Annibale’s and Agostino’s early adoption of drawing and painting techniques are investigated, as is Ludovico’s later technical experiments. Annibale’s travels in northern Italy as suggested by his annotations in Vasari’s Vite are explored in terms of which paintings he could have seen there and how this experience may be reflected in his art. The most highly Venetianizing period of all three Carracci, from about 1587 to its zenith in 1592, is refined. Annibale’s study of Venetian art is shown to have been more involved than suggested by previous scholars. Together with his observation of nature, accomplished draughtsmanship and his study of Correggio, Venetian art informed his mature style before he relocated to Rome. / Thesis (Ph.D, Art History) -- Queen's University, 2014-05-27 12:22:17.598
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Agostino CarracciOstrow, Stephen E. January 1966 (has links)
Thesis (Ph. D.)--New York University, 1966. / Typescript. Vol. 5 contains illustrations. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (v. 4, p. [605]-624).
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Life-drawing in training and practicePhillips, Antonia January 1999 (has links)
No description available.
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Le corps, tableau éloquent : l'exemple des amours de Renaud et Armide dans La Jérusalem délivrée du Tasse /Héroux, Jaëlle. January 2002 (has links)
Mémoire (M.A.) - Université du Québec à Trois-Rivières, 2002. / Bibliogr.: f. [86]-97.
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Annibale Carracci in Bologna visible reality in art after the Council of Trent /Boschloo, Anton W. A. January 1900 (has links)
Thesis--Groningen. / Includes indexes. Includes bibliographical references (v. 2, p. [245]-260).
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"Tradução anotada e comentada da "vida de Annibale Carracci" : escrita por Giovan Pietro Bellori (Roma, 1672)"Cabrera Moreira, Galia Daniela Natividad 21 June 1996 (has links)
Orientador: Luiz Cesar Marques Filho / Texto em portugues e italiano / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-21T07:59:16Z (GMT). No. of bitstreams: 1
CabreraMoreira_GaliaDanielaNatividad_M.pdf: 8072453 bytes, checksum: 7c8a974ff31da72d7d3e4196abaa33a2 (MD5)
Previous issue date: 1996 / Resumo: Não informado. / Abstract: Not informed. / Mestrado / Mestre em História
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'Seek the Eyes of Mary': A Widow and a Virgin's Illuminating InvitationKryscynski, Kristina Gayle Heiss 09 April 2020 (has links)
A deep visual analysis of Ludovico Carracci’s 1588 Madonna and Child, Angels, and Saints Francis, Dominic, Mary Magdalene and the Donor Cecilia Bargellini Boncompagni with an emphasis on the role of the patron, the significance of the locality, and the visual semiotics of the Virgin Mary’s gaze in prompting conversion in the repentant prostitutes of the Carmelite convertite convent associated with Ss. Filippo and Giacomo in Bologna, Italy. Including a commentary on contemporary social expectations of modest behavior and the painting’s deliberate incorporation of inappropriate female behavior towards a religious purpose. A discussion of uniquely Carmelite iconography, the use of Ignatian mental prayer in convents, and self-determination in imagery by a Bolognese aristocratic woman.
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Mariendarstellungen vor und nach dem Konzil von Trient. Die Darstellung der Schönheit - ein religiös-theologischer Schachzug?Obraz, Melanie 06 May 2016 (has links)
Die Arbeit bezieht sich als interdisziplinär angelegte Untersuchung auf die Bildnisse der Marienmalerei vor und nach dem Tridentinum. Kunstwissenschaftliche, theologische und philosophische Implikationen stellen die Frage nach der Abbildbarkeit des Heiligen und die Einflussnahme der bildenden Kunst auf die Religiosität der Betrachter/Innen.
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