Editing Annibale Carracci

{{Short description|Bolognese painter (1560–1609)}}
{{Infobox artist
| name             = Annibale Carracci
| image            = Annibale Carracci, Autoritratto .jpg
| caption          = Self-portrait, {{c.|1580}}
| birth_name       = 
| birth_date       = November 3, 1560
| birth_place      = [[Bologna]], [[Papal States]]
| death_date       = {{death date and age|1609|7|15|1560|11|3}}
| death_place      = [[Rome]], Papal States
| nationality      = Italian
| known_for        = [[Painting]]
| training         = 
| movement         = [[Baroque]]
| notable_works    = 
| patrons          = 
| awards           = 
|module={{Infobox person|child=yes
| signature        = Annibale Carracci Signature.svg}}
| relatives        = {{ubli|[[Agostino Carracci]] (brother)|[[Ludovico Carracci]] (cousin)|[[Antonio Carracci]] (nephew)|[[Francesco Carracci]] (nephew)}}
}}

'''Annibale Carracci''' ({{IPAc-en|k|ə|ˈ|r|ɑː|tʃ|i}} {{respell|kə|RAH|chee}}, {{IPAc-en|UKalso|k|ə|ˈ|r|æ|t|ʃ|i}} {{respell|kə|RATCH|ee}}, {{IPA|it|anˈniːbale karˈrattʃi|lang}}; November 3, 1560 – July 15, 1609) was an Italian painter and instructor, active in [[Bologna]] and later in [[Rome]]. Along with his brother [[Agostino Carracci|Agostino]] and cousin [[Ludovico Carracci|Ludovico]] (with whom [[the Carracci|he also worked collectively]]), Annibale was one of the progenitors, if not founders of a leading strand of the [[Baroque art|Baroque]] style, borrowing from styles from both north and south of their native city, and aspiring for a return to classical monumentality, but adding a more vital dynamism. Painters working under Annibale at the gallery of the [[Palazzo Farnese]] would be highly influential in Roman painting for decades.

==Early career==
[[File:Annibale Carracci 1560-1609 Pieta.jpg|thumb|left |''[[Pietà (Annibale Carracci)|Pietà]]'' between 1599 and 1600]]
[[File:Annibale Carracci - Self-Portrait - WGA4448.jpg|thumb|160px|''Self-portrait'']]

Annibale Carracci was born in [[Bologna]], and in all likelihood was first apprenticed within his family. In 1582, Annibale, his brother [[Agostino Carracci|Agostino]] and his cousin [[Ludovico Carracci]] opened a painters' studio, initially called by some the ''Academy of the Desiderosi'' (desirous of fame and learning) and subsequently the [[Accademia degli Incamminati|''Incamminati'']] (progressives; literally "of those opening a new way"). Considered "the first major art school based on life drawing", the ''Accademia degli Incamminati'' was the model for later art schools throughout Europe.<ref>Boime, A., State University of New York at Binghamton., Sterling and Francine Clark Art Institute., & Finch College (N.Y.). Museum of Art. (1974). ''Strictly academic: Life drawing in the Nineteenth Century''. Binghamton: State University of New York at Binghamton. p. 7. {{OCLC|935594325}}</ref> While the Carraccis laid emphasis on the typically [[Florence|Florentine]] linear draftsmanship, as exemplified by [[Raphael]] and [[Andrea del Sarto]], their interest in the glimmering colours and mistier edges of objects derived from the [[Venice|Venetian]] painters, notably the works of Venetian oil painter [[Titian]], which Annibale and Agostino studied during their travels around Italy in 1580–81 at the behest of the elder Caracci, Ludovico. This eclecticism was to become the defining trait of the artists of the Baroque Emilian or [[Bolognese School (painting)|Bolognese School]].

In many early Bolognese works by the Carraccis, it is difficult to distinguish the individual contributions made by each.  For example, the frescoes on the story of ''Jason'' for  [[Palazzo Fava]] in Bologna (c. 1583–84) are signed ''Carracci'', which suggests that they all contributed. In 1585, Annibale completed an altarpiece of the ''Baptism of Christ'' for the church of [[Santi Gregorio e Siro]] in Bologna. In 1587, he painted the ''Assumption'' for the church of San Rocco in Reggio Emilia.

In 1587–88, Annibale is known to have had travelled to [[Parma]] and then [[Venice]], where he joined his brother Agostino. From 1589 to 1592, the three Carracci brothers completed the frescoes on the ''Founding of Rome'' for  [[Palazzo Magnani, Bologna|Palazzo Magnani]] in Bologna. By 1593, Annibale had completed an altarpiece, ''Virgin on the throne with St John and St Catherine'', in collaboration with [[Lucio Massari]]. His ''Resurrection of Christ'' also dates from 1593. In 1592, he painted an ''Assumption'' for the Bonasoni chapel in San Francesco. During 1593–94, all three Carraccis were working on frescoes in [[Palazzo Sampieri]] in Bologna.

==Frescoes in Palazzo Farnese==
[[File:Annibale Carracci Ritratto Turrini Oxford.jpg|thumb|left|''Portrait of Giacomo Filippo Turrini'']]
Based on the prolific and masterful frescoes by the Carracci in Bologna, Annibale was recommended by the Duke of Parma, [[Ranuccio I Farnese]], to his brother, the [[Odoardo Farnese (Cardinal)|Cardinal Odoardo Farnese]], who wished to decorate the piano nobile of the cavernous Roman [[Palazzo Farnese]]. In November–December 1595, Annibale and Agostino traveled to Rome to begin decorating the  ''Camerino'' with stories of Hercules, appropriate since the room housed the famous Greco-Roman antique sculpture of the hypermuscular [[Farnese Hercules]].

Annibale meanwhile developed hundreds of preparatory sketches for the major work, wherein he led a team painting frescoes on the ceiling of the grand salon with the secular ''[[Quadro riportato|quadri riportati]]'' of ''[[The Loves of the Gods (Carracci)|The Loves of the Gods]]'', or as the biographer [[Giovanni Bellori]] described it, ''Human Love governed by Celestial Love''. Although the ceiling is riotously rich in illusionistic elements, the narratives are framed in the restrained classicism of High [[Renaissance]] decoration, drawing inspiration from, yet more immediate and intimate, than Michelangelo's [[Sistine Chapel ceiling|Sistine Ceiling]] as well as [[Raphael]]'s [[Vatican Logge]] and [[Villa Farnesina]] frescoes. His work would later inspire the untrammelled stream of Baroque illusionism and energy that would emerge in the grand frescoes of [[Pietro da Cortona|Cortona]], [[Giovanni Lanfranco|Lanfranco]], and in later decades [[Andrea Pozzo]] and [[Giovanni Battista Gaulli|Gaulli]].

Throughout the 17th and 18th centuries, the Farnese Ceiling was considered the unrivaled masterpiece of fresco painting for its age. They were not only seen as a pattern book of heroic figure design, but also as a model of technical procedure; Annibale’s numerous preparatory drawings for the ceiling were widely studied and influenced later approaches to large-scale history painting.

==Contrast with Caravaggio==
[[Image:Domine, quo vadis?.jpg|thumb|Carracci's ''[[Domine quo vadis?]]'' (Jesus and [[Saint Peter]])]]
[[File:Annibale Carracci - Pietà with Sts Francis and Mary Magdalen - WGA4443.jpg|thumb|''Pietà with Sts Francis and Mary Magdalen'']] 
The 17th-century critic [[Giovanni Bellori]], in his survey entitled ''Idea'', praised Carracci as the paragon of [[Italian painters]], who had fostered a "renaissance" of the great tradition of [[Raphael]] and [[Michelangelo]]. On the other hand, while admitting [[Caravaggio]]'s talents as a painter, Bellori deplored his over-naturalistic style, if not his turbulent morals and persona. He thus viewed the ''[[Caravaggisti]]'' styles with the same gloomy dismay. Painters were urged to depict the Platonic ideal of beauty, not Roman street-walkers. Yet Carracci and Caravaggio patrons and pupils did not all fall into irreconcilable camps. Contemporary patrons, such as Marquess [[Vincenzo Giustiniani]], found both applied showed excellence in ''maniera'' and ''modeling''.<ref>Wittkover, p. 57.</ref>

By the 21st century, scholarly and public interest in Caravaggio's dramatic style had grown considerably, sometimes drawing less attention to Carracci's influence on Baroque fresco traditions. Caravaggio almost never worked in fresco, regarded as the test of a great painter's mettle. On the other hand, Carracci is particularly noted for his frescoes. Thus the somber canvases of Caravaggio, with benighted backgrounds, are suited to the contemplative altars, and not to well-lit walls or ceilings such as this one in the Farnese. Wittkower was surprised that a Farnese cardinal surrounded himself with frescoes of libidinous themes, indicative of a "considerable relaxation of counter-reformatory morality". This thematic choice suggests Carracci may have been more rebellious relative to the often-solemn religious passion of Caravaggio's canvases. According to art historian Rudolf Wittkower, Carracci's frescoes express "a tremendous joie de vivre" and mark "a new blossoming of vitality."

In the 21st century, most connoisseurs making the pilgrimage to the [[Cerasi Chapel]] in [[Santa Maria del Popolo]] would ignore Carracci's ''[[Assumption of the Virgin (Cerasi Chapel)|Assumption of the Virgin]]'' altarpiece (1600–1601) and focus on the flanking Caravaggio works. It is instructive to compare Carracci's ''Assumption''<ref>See the more adept altarpiece at the Prado ([http://www.wga.hu/frames-e.html?/html/c/carracci/annibale/1/index.html Paintings by Annibale Carracci]. ''[[Web Gallery of Art]]'', retrieved May 28, 2011)</ref> with Caravaggio's ''[[Death of the Virgin (Caravaggio)|Death of the Virgin]]''. Among early contemporaries, Carracci was an innovator. He re-enlivened Michelangelo's visual fresco vocabulary, and posited a muscular and vivaciously brilliant pictorial landscape, which had increasingly reflected the complexity and artificiality characteristic of the [[Mannerism|Mannerist]] style. While Michelangelo could bend and contort the body into all the possible perspectives, Carracci’s treatment of the human figure in the Farnese frescoes demonstrated a dynamic approach to form and movement. The "ceiling"-frontiers, the wide expanses of walls to be frescoed would, for the next decades, be thronged by the monumental brilliance of the Carracci followers, and not Caravaggio's followers.

[[File:Annibale Carracci Madonna con Bambino, santa Lucia, san Giovannino e angelo, Feigen collection.jpg|thumb|''Madonna and Child with Saint Lucy, the Infant Saint John the Baptist and an Angel'']]

In the century following his death, to a lesser extent than [[Bernini]] and Cortona, Carracci and baroque art in general came under criticism from neoclassic critics such as [[Johann Joachim Winckelmann|Winckelmann]] and even later from the prudish [[John Ruskin]], as well as admirers of Caravaggio. Carracci in part was spared opprobrium because he was seen as an emulator of the highly admired Raphael, and in the Farnese frescoes, attentive to the proper themes such as those of antique mythology.

==Landscapes, genre art and drawings==
On July 8, 1595, Annibale completed the painting of ''[[Saint Roch Giving Alms]]'', now in Dresden Gemäldegalerie. Other significant late works painted by Carracci in Rome include ''[[Domine quo vadis?]]'' (c. 1602), which reveals a striking economy in figure composition and a force and precision of gesture that influenced on [[Nicolas Poussin|Poussin]] and through him, the language of gesture in painting.

Carracci was remarkably eclectic in thematic, painting landscapes, genre scenes, and portraits, including a series of autoportraits across the ages. He was one of the first Italian painters to paint a canvas wherein [[landscape painting|landscape]] took priority over figures, such as his masterful ''[[Landscape with the Flight into Egypt (Carracci)|The Flight into Egypt]]''; this is a genre in which he was followed by [[Domenichino]] (his favorite pupil) and [[Claude Lorrain]].

Carracci's art also had a less formal side that comes out in his caricatures (he is generally credited with inventing the form) and in his early [[genre art|genre]] paintings, which are remarkable for their lively observation and free handling<ref>see [http://humanitiesweb.org/human.php?s=g&p=c&a=p&ID=1365 ''The Butcher's Shop'']</ref> and his painting of ''The Beaneater''. He is described by biographers as inattentive to dress, obsessed with work: his self-portraits (such as [[Self-Portrait (Annibale Carracci)|that in Parma]]) vary in his depiction.<ref>[http://www.mostracarracci.it/mostra.htm see ''mostra''] {{webarchive|url=https://web.archive.org/web/20070114233550/http://www.mostracarracci.it/mostra.htm |date=2007-01-14 }} {{in lang|it}}</ref>

==Under a melancholic humor==

It is not clear how much work Annibale completed after finishing the major gallery in the Palazzo Farnese. In 1606, Annibale signed a ''Madonna of the bowl''. However, in a letter from April 1606, Cardinal Odoardo Farnese bemoaned that a "heavy melancholic humor" prevented Annibale from painting for him. Throughout 1607, Annibale was unable to complete a commission for the Duke of Modena of a ''Nativity''. There is a note from 1608, where in Annibale stipulates to a pupil that he will spend at least two hours a day in his studio. There is little documentation from the man or time to explain why his brush was stilled.

In 1609, Annibale died and was buried, according to his wish, near Raphael in the [[Pantheon, Rome|Pantheon]] of Rome. It is a measure of his achievement that artists as diverse as [[Gian Lorenzo Bernini|Bernini]], Poussin, and [[Peter Paul Rubens|Rubens]] praised his work. Many of his assistants or pupils in projects at the Palazzo Farnese and Herrera Chapel would become among the pre-eminent artists of the next decades, including [[Domenichino]], [[Francesco Albani]], [[Giovanni Lanfranco]], [[Domenico Viola]], [[Guido Reni]], [[Sisto Badalocchio]], and others.

== Chronology of works ==
[[File:Annibale_Carracci_-_The_Mystic_Marriage_of_St_Catherine_-_WGA4423.jpg|thumb|''The Mystic Marriage of St Catherine'']]
[[File:Madonna_Enthroned_with_Saint_Matthew,_Annibale_Carracci,_1588.png|thumb|''Madonna Enthroned with Saint Matthew'']]

=== Paintings ===
* ''[[Butcher's Shop (Annibale Carracci)|Butcher's Shop]]'' (1580s)<small>—Oil on canvas, 185 × 266&nbsp;cm, [[Christ Church Picture Gallery]], [[Oxford]]</small>
* ''[[The Beaneater (Annibale Carracci)|The Beaneater]]'' (1580–1590)<small>—Oil on canvas, 57 × 68&nbsp;cm, [[Palazzo Colonna|Galleria Colonna]], [[Rome]]</small>
* ''[[Descent from the Cross (Annibale Carracci)|Descent from the Cross]]'' (1580–1600)<small>—[[St Ann's Church, Manchester]]</small>
* ''[[Crucifixion with Saints (Annibale Carracci)|Crucifixion with Saints]]'' (1583)<small>—Oil on canvas, 305 × 210&nbsp;cm, [[Santa Maria della Carità, Bologna]]</small>
* ''[[The Laughing Youth (Annibale Carracci)|The Laughing Youth]]'' (1583)<small>—Oil on paper, [[Galleria Borghese]], [[Rome]]</small>
* ''[[Dead Christ (Annibale Carracci)|Corpse of Christ]]'' (c. 1583–1585)<small>—Oil on canvas, 70.7 × 88.8&nbsp;cm, [[Staatsgalerie Stuttgart]]</small>
* ''[[The Baptism of Christ (Annibale Carracci)|The Baptism of Christ]]'' (1584)<small>—Oil on canvas, [[Santi Gregorio e Siro]], [[Bologna]]</small>
* ''[[An Allegory of Truth and Time]]'' (1584–1585)<small>—[[Royal Collection]] ([[Hampton Court]])</small>
* ''[[Pietà with Saints Clare, Francis and Mary Magdalene]]'' (1585)<small>—Oil on canvas, [[Galleria nazionale di Parma]], [[Parma]]</small>
* ''[[The Mystic Marriage of St Catherine (Annibale Carracci)|The Mystic Marriage of St Catherine]]'' (1585–1587)<small>—Oil on canvas, [[Museo Nazionale di Capodimonte]], [[Naples]]</small>
* ''[[Madonna Enthroned with St Matthew (Annibale Carracci)|Madonna Enthroned with St Matthew]]'' (1588)<small>—Oil on canvas, 384 × 255&nbsp;cm, [[Gemäldegalerie, Dresden|Gemäldegalerie]], [[Dresden]]</small>
* ''[[Venus with a Satyr and Two Cupids]]'' (c. 1588)<small>—Oil on canvas, 112 × 142&nbsp;cm, [[Uffizi]], [[Florence]]</small>
* ''[[Self-Portrait in Profile (Annibale Carracci)|Self-Portrait in Profile]]'' (1590s)<small>—Oil on canvas, [[Uffizi]], [[Florence]]</small>
* ''[[Assumption of the Virgin (Carracci)|Assumption of the Virgin]]'' (c. 1590)<small>—Oil on canvas, 130 × 97&nbsp;cm, [[Museo del Prado]]</small>
*''[[Madonna and Child with Saints (Annibale Carracci, 1590)|Madonna and Child with Saints]]''
* ''[[The Virgin Appears to the Saints Luke and Catherine (Annibale Carracci)|The Virgin Appears to the Saints Luke and Catherine]]'' (1592)<small>—Oil on canvas, 401 × 226&nbsp;cm, [[Musée du Louvre]], [[Paris]]</small>
* ''[[Fishing (Annibale Carracci)|Fishing]]'' (before 1595)<small>—Oil on canvas, 136 × 253&nbsp;cm, [[Musée du Louvre]]</small>
* ''[[Hunting (Annibale Carracci)|Hunting]]'' (before 1595)<small>—Oil on canvas, 136 × 253&nbsp;cm, [[Musée du Louvre]]</small>
* ''[[Venus, Adonis and Cupid (Annibale Carracci)|Venus, Adonis and Cupid]]'' (c. 1595)<small>—Oil on canvas, 212 × 268&nbsp;cm, [[Museo del Prado]], [[Madrid]]</small>
* ''[[Saint Roch Giving Alms]]'' (1595)<small>—Oil on canvas, [[Gemäldegalerie]], [[Dresden]]</small>
* ''[[The Choice of Heracles (Annibale Carracci)|The Choice of Heracles]]'' (c. 1596)<small>—Oil on canvas, 167 × 273&nbsp;cm, [[Museo Nazionale di Capodimonte]], [[Naples]]</small>
* ''[[Mocking of Christ (Annibale Carracci)|Mocking of Christ]]'' (c. 1596)<small>—Oil on canvas, 60 × 69.5&nbsp;cm, [[Pinacoteca Nazionale, Bologna|Pinacoteca Nazionale]]</small>
* ''[[Jupiter and Juno]]'' (c. 1597)<small>—[[Farnese Gallery, Rome]]</small><ref>[[:File:Jupiter and Juno - Annibale Carracci - 1597 - Farnese Gallery, Rome.jpg]]</ref>
* Frescoes (1597–1605) in the [[Palazzo Farnese]], [[Rome]]
* ''[[River Landscape (Annibale Carracci)|River Landscape]]'' (c. 1599)<small>—Oil on canvas, [[National Gallery of Art]], [[Washington, D.C.]]</small><ref>{{cite web|title=River Landscape|url=http://www.nga.gov/cgi-bin/pinfo?Object%3D41400+0+none|url-status=dead|archive-url=https://web.archive.org/web/20041111192947/http://www.nga.gov/cgi-bin/pinfo?Object=41400+0+none|archive-date=2004-11-11|access-date=2006-06-06}}</ref>
* ''[[Pietà (Annibale Carracci)|Pietà]]'' (1599–1600)<small>—Oil on canvas, 156 × 149&nbsp;cm, [[Museo Nazionale di Capodimonte]], [[Naples]]</small>
* ''[[The Madonna and Sleeping Child with the Infant St John the Baptist]]'' (1599–1600)<small>—Oil on canvas, 51.2 x 68.4&nbsp;cm, Royal Collection (Hampton Court)</small>
* ''[[Rest on the Flight into Egypt (Annibale Carracci)|Rest on the Flight into Egypt]]'' (c. 1600)<small>—Oil on canvas, diameter 82.5&nbsp;cm, [[Hermitage Museum]], [[St. Petersburg]]</small>
* ''[[The Three Marys at the Tomb (Annibale Carraci)|The Three Marys at the Tomb]]'' (c.1600)<small>—Oil on canvas, [[Hermitage Museum]], St. Petersburg</small>
* ''[[Assumption of the Virgin (Cerasi Chapel)|Assumption of the Virgin Mary]]'' (1600–1601)<small>—Oil on panel, 245 × 155&nbsp;cm, [[Santa Maria del Popolo]], [[Rome]]</small>
* ''[[Domine quo vadis? (Annibale Carracci)|Domine quo vadis?]]'' (1601–1602)<small>—Oil on panel, 77.4 × 56.3&nbsp;cm, [[National Gallery, London|National Gallery]], [[London]]</small>
* ''[[Pietà with Saint Francis and Saint Mary Magdalene]]''<small>—Oil on canvas, 277 x 186&nbsp;cm, Louvre, Paris</small>
* ''[[Landscape with the Flight into Egypt (Carracci)|The Flight into Egypt]]'' (1603)<small>—Oil on canvas, 122 × 230&nbsp;cm, [[Galleria Doria Pamphilj]], [[Rome]]</small>
* ''[[Sleeping Venus (Carracci)|Sleeping Venus]]'' (c. 1603)<small>—Oil on canvas, 190 × 328&nbsp;cm, [[Musée Condé]], [[Chantilly, Oise]]</small>
* ''[[The Martyrdom of St Stephen (Annibale Carracci)|The Martyrdom of St Stephen]]'' (1603–1604)<small>—Oil on canvas, 51 × 68&nbsp;cm, [[Louvre]], Paris</small>
* ''[[Self-portrait (Annibale Carracci)|Self-portrait]]'' (c. 1604)<small>—Oil on wood, 42 × 30&nbsp;cm, [[Hermitage Museum]], [[St. Petersburg]]</small>
* ''[[Portable Altarpiece with Pietà and Saints]]'' (1604–1605)<small>—Oil on copper and panel, 37 × 24&nbsp;cm (central panel), 37 × 12&nbsp;cm (each wing), [[Galleria Nazionale d'Arte Antica]], [[Rome]]</small> 
* ''[[The Birth of the Virgin (Annibale Carracci)|The Birth of the Virgin]]'' (1605–1609)<small>—Oil on canvas, Louvre, Paris</small>
* ''[[Lamentation of Christ (Annibale Carracci)|Lamentation of Christ]]'' (1606)<small>—Oil on canvas, 92.8 × 103.2&nbsp;cm, [[National Gallery, London|National Gallery]], [[London]]</small>

===Drawings===
* ''Atlante''  <small>Red chalk, [[Louvre]], Paris</small>
* Drawings (exhibit, [[National Gallery of Art]])<ref>{{cite web|title=Annibale Carracci, Images – NGA|url=http://www.nga.gov/exhibitions/car_images.shtm|work=nga.gov}}</ref>

===Works after Carracci===
* ''Venus and Adonis'' (c. 1595)<small>—Oil on canvas, 217 × 246&nbsp;cm, [[Kunsthistorisches Museum]], [[Vienna]]</small><ref>{{Cite web|url=https://www.khm.at/objektdb/detail/449/|title=''Venus and Adonis'' - catalogue entry|language=de}}</ref>

==Paintings==

The tradition of [[Italian Renaissance]] painting and the mature Renaissance artists like Raphael, Michelangelo, Correggio, Titian and Veronese are all painters who had a considerable influence on the work of the Carracci, in his use of colours.  Carraci laid the foundations for the birth of Baroque painting. The preceding sterile Mannerist style had its recovery now in the Baroque painting in the early sixteenth century, succeeding in an original synthesis of the many schools. The paintings of Annibale are inspired by the Venetian pictorial taste and especially the paintings of [[Paolo Veronese]]. The work that show traces of it are the ''Madonna Enthroned with Saint Matthew'', a work made for Reggio Emilia and now in the Gemäldegalerie, Dresden, and the ''Mystic Marriage of Saint Catherine of Alexandria'' (ca. 1575), now preserved at the Gallerie dell'Accademia in Venice.<ref>{{cite web|url=http://www.metmuseum.org/toah/hd/carr/hd_carr.htm|title=Annibale Carracci |publisher=www.metmuseum.org|access-date=1 October 2014}}</ref><ref>{{cite web|url=http://www.wga.hu/html_m/c/carracci/annibale/1/mad_matt.html|title=carracci/annibale|publisher=www.wga.hu|access-date=1 October 2014}}</ref>

{{-}} 
<gallery widths="200px" heights="200px" caption="Religious subjects">
File:Annibale Carracci - Christ Wearing the Crown of Thorns, Supported by Angels - WGA04427.jpg|''Christ Wearing the Crown of Thorns, Supported by Angels'' 
File:Annibale Carracci - The Samaritan Woman at the Well - WGA4446.jpg|''The Samaritan Woman at the Well''
File:Annibale Carracci Madonna del silienzio.jpg|''The silent Madonna with Saint John the Baptist''  
File:Annibale Carracci susanna.jpg| ''Susanna in the bath''
File:Annibale Carracci, Pietà, Kunsthistorichen, Vienna.jpg| ''Pietà'', Kunsthistoriche Museum, Vienna
File:Annibale Carracci - Lamentation of Christ - WGA4436.jpg|''Lamentation of Christ'' 
File:Carracci, Annibale - Madonna and Child with St John - Google Art Project.jpg|'' Madonna and Child with St John'' 
File:Annibale Carracci San Rocco e l'Angelo.jpg|''Saint Roch and the Angel'' 
</gallery>

<gallery widths="200px" heights="200px" caption="Portraits">
File:Annibale Carracci, Autoritratto .jpg|Self-portrait, c. 1580 
File:Annibale Carracci, attrib., Portrait of an African Slave Woman, ca. 1580s. Oil on canvas, 60 x 39 x 2 cm (fragment of a larger painting.jpg|''Portrait of an African Woman Holding a Clock'', c. 1585<ref>''Apollo'' (8 March 2017). "[https://www.apollo-magazine.com/pick-fair-tomasso-brothers/ Pick of the fair: Tomasso Brothers]". Retrieved 14 June 2020.</ref>
File:Annibale Carracci - The Temptation of St Anthony Abbot (detail) - WGA4426.jpg|''The Temptation of St Anthony Abbot'' (detail), 1597–98
File:Carracci, Annibale - Head of an Old Man - Google Art Project.jpg|''Head of an Old Man''
File:Annibale Carracci ritratto del medico Bossi.jpg|''Portrait of Dr Bossi'' 
</gallery>

<gallery widths="200px" heights="200px" caption="Mythological subjects">
File:Annibale Carracci - Venus and Adonis - WGA4429.jpg|''Venus and Adonis'', c. 1595
File:Jupiter and Juno Annibale Carracci fragment.jpg|''Jupiter and Juno'', 1602, [[Palazzo Farnese]]
File:Annibale Carracci - Sleeping Venus - WGA4449.jpg|''Sleeping Venus''
File:Annibale Carracci - The Choice of Heracles - WGA4416.jpg|''The Judgment of Hercules'', 1596, [[National Museum of Capodimonte]]
File:Annibale Carracci - Venus with a Satyr and Cupids - WGA4430.jpg|''[[Venus with a Satyr and Two Cupids]]'', 1590
</gallery>

<gallery widths="200px" heights="200px" caption="Food related paintings">
File:'Boy Drinking' by Annibale Carracci, 1582-83.JPG|''Boy Drinking'' by Annibale Carracci, 1582–83
File:Carracci - Der Bohnenesser.jpeg|''[[The Beaneater]]'', 1580–1590, [[Palazzo Colonna|Galleria Colonna]], [[Rome]]
File:Carracci-Butcher's shop.jpg|''[[Butcher's Shop (Annibale Carracci)|Butcher's Shop]]'', 1580, [[Christ Church Picture Gallery]], [[Oxford]]
File:Annibale Carracci - The Butcher's Shop - Google Art Project.jpg|''[[The Butcher's Shop]]'', 1580, [[Kimbell Art Museum]]
</gallery>

==Footnotes==
{{Reflist}}

==References==
* [http://www.newadvent.org/cathen/03374c.htm Catholic Encyclopedia: Carracci]
* Christiansen, Keith. [http://www.metmuseum.org/toah/hd/carr/hd_carr.htm “Annibale Carracci (1560–1609).”] In ''Heilbrunn Timeline of Art History''. New York: The Metropolitan Museum of Art, 2000–. (October 2003)
* {{cite book | first= Rudolph|last= Wittkower|author-link= Rudolf Wittkower| year=1993| title= Pelican History of Art| chapter= Art and Architecture Italy, 1600–1750| others=1980 | pages=57–71 | publisher= Penguin Books}}
* {{cite book | first= Malafarina|last= Gianfranco| year=1976| title=L' opera completa di Annibale Carracci | chapter=preface by Patrick J. Cooney | publisher= Rizzoli Editore, Milano}}
* H. Keazor: ''"Distruggere la maniera?": die Carracci-Postille'', Freiburg im Breisgau, 2002.
* C. Dempsey: ''Annibale Carracci and the beginnings of baroque style'', Harvard, 1977; 2nd ed. Fiesole, 2000.
* A. W. A. Boschloo: ''Annibale Carracci in Bologna: visible reality in art after the Council of Trent'', 's-Gravenhage, 1974.
* C. Goldstein: ''Visual fact over verbal fiction: a study of the Carracci and the criticism, theory, and practice of art in Renaissance and baroque Italy'', Cambridge, 1988.
* D. Posner: ''Annibale Carracci: a study in the reform of Italian painting around 1590'', 2 vol., New York, 1971.
* S. Ginzburg: ''Annibale Carracci a Roma: gli affreschi di Palazzo Farnese'', Rome, 2000.
* C. Loisel: ''Inventaire général des dessins italiens'', vol. 7: Ludovico, Agostino, Annibale Carracci (Musée du Louvre: Cabinet des Dessins), Paris, 2004.
* B. Bohn: ''Ludovico Carracci and the art of drawing'', London, 2004.
* ''Annibale Carracci'', catalogo della mostra a cura di D. Benati, E. Riccomini, Bologna-Roma, 2006–2007.
* M. C. Terzaghi: ''Caravaggio, Annibale Carracci, Guido Reni tra le ricevute del Banco Herrera & Costa'', Roma, 2007.
* H. Keazor: ''"Il vero modo". Die Malereireform der Carracci'', (Neue Frankfurter Forschungen zur Kunst 5), Berlin: Gebrüder Mann Verlag, 2007.
* C. Robertson: ''The Invention of Annibale Carracci'' (Studi della Bibliotheca Hertziana, 4), Milano, 2008.
* F. Gage: "Invention, Wit and Melancholy in the Art of Annibale Carracci." ''Intellectual History Review'' 24.3 (2014): 389–413. Special Issue, The Nature of Invention. Edited by Alexander Marr and Vera Keller.

==External links==
{{Commons category|Annibale Carracci}}
*{{Art UK bio}}
* [http://www.artble.com/artists/annibale_carracci Annibale Carracci artistic context, technique and artworks]
* [http://www.wikigallery.org/wiki/artist39181/Annibale-Carracci/page-1 Annibale Carracci at the WikiGallery.org] {{Webarchive|url=https://web.archive.org/web/20120223221719/http://www.wikigallery.org/wiki/artist39181/Annibale-Carracci/page-1 |date=2012-02-23 }}
* [http://triarte.brynmawr.edu/Obj162053 Annibale Carracci, ''Christ Healing the Sick'', 16th century, etching, Bryn Mawr College Art and Artifact Collections]
* [http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/81943 ''Jusepe de Ribera, 1591–1652''], an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Carracci (see index)
* [http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/96665 ''Painters of reality: the legacy of Leonardo and Caravaggio in Lombardy''], an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Carracci (see index)

{{Annibale Carracci}}
{{Authority control}}

{{DEFAULTSORT:Carracci, Annibale}}
[[Category:1560 births]]
[[Category:1609 deaths]]
[[Category:16th-century Italian painters]]
[[Category:Italian male painters]]
[[Category:17th-century Italian painters]]
[[Category:Italian Roman Catholics]]
[[Category:Painters from Bologna]]
[[Category:Italian Baroque painters]]
[[Category:Burials at the Pantheon, Rome]]
[[Category:Sibling artists]]
[[Category:Catholic painters]]