Carracci's Assumption

Carracci's Assumption
Carracci's Assumption

The greatest artist ofthe Carracci, Anibale, is famous for his mythological-themed works that he did for the Farnese Gallery, for example. However, it also has interesting religious-themed works, specifically several that represent the episode of the Assumption of the Virgin, And they are very attractive works because they represent thein the religious field passage from the Renaissance to the classicist Baroque, passing through the influence of Mannerism, indebted to the art of Michelangelo.

Carracci's Assumption

The Carracci Assumption

In these kinds of religious scenes, he evidently cannot apply the same criteria as in his scenes with ancient gods. And he tends to eliminate the most dynamic and cheerful for a certain tone of dignity and roy alty, since for no reason he wants to fall into vulgarity. That is, he always seeks to be within the lines of decorum.

We see a composition based on two different spheres, the earthly and the heavenly, in which the Virgin appears with the angels. To raise it, create two diagonals with the characters, who are the Apostles, who act as a support for the entire upper scene.

Although Carracci was fromBolognaand developed much of his career inRome, here he recreates a setting with a Venetian atmosphere. All very monumental and colorful. In fact, despite the undoubted sharpness of Anibale Carracci's drawing,We are facing a work dominated by color and light, all closely linked to Venice. These are very bright and humid colors, that is, bright. And the scene is enveloped in a golden light, which adds some dramatic chiaroscuro.

Other very interesting notes can be found in the so-called affetti, the emotions and expressions provoked by the miraculous event. And to do so, above all, he draws inspiration from the most intellectual forms that he has seen in the painting ofCorreggioin Parma andRaphaelin Rome.

He seeks to pose real expressions, but without bordering on vulgarity, nor breaking beauty, applying a certain idealization to these gestures. In other words, everything is very rhetorical and theatrical. It is the best way to describe, for example, Maria's ecstatic face and her open arms.

In reality, he is translating into painting what the theorists of the Church and of art wrote and preached at that time, who promulgated that the religious image should move the affection and move the heart. Some principles that in Carracci's painting translate into a greater distancing from the viewer than in the case of the art of Caravaggio which represents the other great pictorial current of the early Baroque: naturalism, as opposed to classicism. And if it is not enough to compare this work with the Crucifixion of Saint Peter by Caravaggio, which happens to be next door in the Roman church of Santa Maria del Popolo.

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