“The Inheritor” Carracci

Today, we officially begin our appreciation of Baroque art. I will first introduce to you one of the “monads” of the two great masters of the Baroque period’s dual opposites — Carracci.

“The Inheritor” Carracci

1. Carracci was one of the earliest great painters of the Baroque period. He, along with his two older brothers, is collectively known as the “Carracci Brothers.” Together, they hold a highly significant position in Baroque art, and of the three, Carracci, the youngest, achieved the highest success. He was born in Bologna and is regarded as an inheritor, blending the artistic style of the Renaissance with the characteristics of the Baroque period, laying the foundation for the development of Classicism.
2. The “Carracci Brothers” are Lodovico Carracci (1555-1619), Agostino Carracci (1557-1602), and Annibale Carracci (1560-1609). Typically, the name “Carracci” refers to Annibale Carracci, the youngest brother. The three brothers founded the first art academy in Europe — the Academy of Fine Arts in Bologna — and were advocates of academic art.
3. The Baroque period was an era in Western art history, roughly in the 17th century, and Carracci is considered an early representative artist of Baroque. The term “Baroque” originally had a pejorative connotation, derived from the Portuguese word barocco, meaning a misshapen pearl. Critics of the time used “Baroque” to disparage the peculiar, eccentric, and distorted nature of Baroque art, arguing that it lacked elegance and balance and strayed from the spirit of Renaissance art.
4. Carracci belongs to the “starting faction” of Baroque art, advocating for eclecticism. After the passing of a great era, the development of a new era usually faces two choices: “starting faction” and “ending faction.” The “starting faction,” represented by Carracci in the Baroque period, supports digging deeper within the excellent frameworks left by predecessors. The “ending faction,” however, believes that predecessors have already accomplished enough, leaving little room for future generations, so they discard the previous structures to develop their own unique art.
5. Compared to the “quietly being a handsome man” style of Renaissance painting, Carracci’s Baroque painting represents a more complex, luxurious, and even ostentatious form of art, emphasizing contrast and impact. In Carracci’s famous work The Lamentation of Christ, both the Virgin Mary and Christ have pale skin, and their outlines are very deep. The entire painting has strong light and shadow contrasts, showcasing two key features of Baroque painting: strong contrast and focused emphasis.
6. In Carracci’s The Lamentation of Christ, while it bears the characteristics of Baroque art, the faces of the Virgin and Christ are more in line with Raphael’s style. The Virgin and Christ in the painting have very calm expressions with little dramatic conflict, indicating Carracci’s inheritance of Renaissance art. Additionally, Carracci’s artistic style was influenced by his birthplace, Bologna, which is located between Parma and Venice, so he was deeply influenced by the artists of the Correggio and Venetian schools, placing importance on color and light.
7. The most famous achievement of the Carracci Brothers is the establishment of the Academy of Fine Arts in Bologna, the first art academy in the world. Throughout the Renaissance, many techniques, methods, and ideas were formed. Before the establishment of academic systems, artistic inheritance came from the workshops of individual painters. While this allowed for a blossoming of artistic styles, it lacked a system and could lead to the loss of techniques. The Carracci brothers’ art academy organized and systematized the artistic techniques of their predecessors, greatly contributing to the transmission of art at the time. Though the academy could lead to rigid thinking, its impact on the inheritance of art was immense.
8. Another representative work of the Carracci Brothers is the ceiling fresco The Loves of the Gods in the Farnese Palace. The Classical style that Baroque eventually developed into is fully reflected in this ceiling fresco. The Farnese Palace (Palazzo Farnese) is a remarkable Renaissance building in Rome, designed and constructed for the Farnese family in 1517, and it currently houses the French Embassy in Italy. The ceiling fresco in the Farnese Palace uses strong dramatic conflict and a low-angle perspective, which aligns perfectly with the aesthetic demands of Baroque.
9. The ceiling fresco in the Farnese Palace depicts the love between gods in ancient Greek mythology. The figures in the painting are very seductive and even include sexually suggestive content, making it quite sensuous. The entire composition not only features strong contrast and intense emotions that create a powerful impact on the viewer’s senses, but it also seeks lightness and elegance, blending Baroque and Classicism together.