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green (Paul). The remaining space around the sarcophagus is filled with nine other apostles, bringing their overall number to eleven. "The stiffened forms and crowded composition have been interpreted as a conscious shift to a 'hyper-idealized' manner that rejects the warmth and painterly qualities of his
Bolognese period for a style indebted to ancient sculpture and to
368:
where the actual
Coronation was painted", says Rosemary Muir Wright. "The Virgin herself had become an icon of ideal beauty in a form which owed much of its perfection to the model of Raphael. This idealization provided the necessary reminder of the supernatural nature of the event, despite the obvious visual conviction of natural form and three-dimensional space."
356:
whose hands and feet seem to pierce the picture plane" may have influenced
Caravaggio. The Cerasi Assumption was a turning point in Annibale's painting style as his compositions became darker, the figures larger and more monumental during the last phase of his career. Donald Posner termed his style in this period 'hyper-idealized'.
340:, a masterpiece that Carracci much loved and studied. That Carracci took inspiration for the lighting - a strong spotlight effect giving a sculptural look to the forms - from Raphael, becomes clear if compare the figure of Saint Peter with the Saint Peter in the same location on the Transfiguration. The
299:
Mary seems to be projecting forward rather than upwards. It is a device that compensates for the confined environment and the rather low position of the altar. In this way, the
Assumption meets the observer far beyond the narrow space of the Cerasi Chapel, ensuring its visibility from the transept,
180:
to rebuild the small edifice in
Baroque style. In September Cerasi contracted Caravaggio to paint two panels for the side walls. Presumably another contract was signed at an early stage in the proceedings with Carracci for the altarpiece but this document has not been preserved. Preparatory studies
355:
The relationship between the paintings of
Caravaggio and Carracci in the chapel is a perpetual subject of discussion in art history. It seems probable that each artist "subtly altered his style of painting as a result of this direct confrontation with the other", and "Annibale's monumental saints,
367:
is even more dismissive. Modern art history showed more appreciation. "The visual effects ensured that the spectators in the chapel space experienced for themselves the onrush of divine energy as the Virgin soared from the tomb, outward and over their heads into the painted vault of the crossing,
272:
The rather crowded composition is organized around a triad of figures: the Virgin rising from the empty tomb (surrounded by a retinue of angels) and the two apostles gazing upwards in awe. All three wear robes in bright primary colours: blue over red (Mary), yellow over blue (Peter) and pink over
211:
Tiberio Cerasi died on 3 May 1601 and was buried in the chapel. In his will he named the
Fathers of the Hospital of the Madonna della Consolazione as his heirs with the responsibility to complete the still unfinished chapel. Annibale's altarpiece was probably already complete as deduced from an
269:(on the right) in the foreground whose life story is told by Caravaggio (and also by the side paintings on the vault). The thematic and compositional connections prove that the altarpiece was designed to be looked at as part of a larger ensemble and not as a standalone object.
228:
This is also confirmed by the fact that there are no recordings of payments in favor of
Carracci in the documents concerning the management of the assets of Tiberio Cerasi drawn up after his death. The chapel was finally consecrated on 11 November 1606. It was dedicated to the
300:
an ideal space for the continuation of Mary's motion. The dynamism, the emotional charge and the integration of the painting into real space are strongly innovative elements which make the panel unequaled among the contemporary altarpieces produced in Rome.
451:
564:
Claudio
Strinati, L'Assunzione della Vergine di Annibale Carracci, in Maria Grazia Bernardini (a cura di), Caravaggio Carracci Maderno. La cappella Cerasi in Santa Maria del Popolo a Roma, Cinisello Balsamo, 2001, p.
574:
Catherine E. Kopp: “The
Carracci and Venice: Annibale Carracci's stylistic response to Venetian art, and the intermediate roles of Ludovico and Agostino Carracci, thesis, Queen's University, 2014, p.237
292:
who lifted up Mary's body to heaven. An apostle on the right is looking at the grave linens and the roses that were found in the empty sarcophagus. On the other hand, the prominent position of the
786:
1094:
652:
348:
was another great Renaissance painting that may have influenced Carracci while working on the same subject, especially regarding the heads of some of the apostles in deep shadow and in
954:
249:
The altarpiece is the fulcrum of the decorative program of the chapel due to its subject and spatial position. There is a strong thematic connection with the scene of the
156:
art but the contrast is striking: Carracci's Virgin glows with even light and radiates harmony, while the paintings of Caravaggio are dramatically lit and foreshortened.
509:
Christopher L. C. E. Witcombe, Two "Avvisi", Caravaggio, and Giulio Mancini, in: Source: Notes in the History of Art, Vol. 12, No. 3 (Spring 1993), pp. 22–29, pag. 22.
288:. John the Evangelist (on the left) is portrayed as a beardless young man among the older and bearded apostles. One member of the angelic retinue can be identified as
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following Carracci's design. In these circumstances there was little reason for Carracci and Caravaggio to regard each other as business rivals, states
1194:
583:
Kate Ganz: Annibale's Rome: Art and Life in the Eternal City, in The Drawings of Annibale Carracci, National Gallery of Art, Washington, 1999, p. 203.
1078:
379:
518:
Heather Nolin, "Non piacquero al Padrone: A Reexamination of Caravaggio's Cerasi Crucifixion of St. Peter, in:Rutgers Art Review 24 (2008), pag. 48.
261:. The painting also establishes a dialog with the two Caravaggio canvasses on the lateral walls: the most important figures among the apostles are
1062:
1050:
1042:
905:
601:
Rosemary Muir Wright: Sacred Distance: Representing the Virgin Mary in Italian Altarpieces, 1300-1630, Manchester University Press, 2006, p. 110
409:
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937:
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Malvasia's Life of the Carracci: Commentary and Translation, trans. by Anne Summerscale, The Pennsylvania State University Press, 2000, p. 178
770:
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682:
629:
224:"The principal painting in the chapel by the said Carracci, those three paintings being, on the whole, of great excellence and beauty."
866:
826:
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929:
200:. Probably due to his increased workload in the palace, the three ceiling frescos in the chapel were executed by his assistant,
730:
658:
706:
148:
188:
The commissions went to the leading artists in Rome at the time: during these years Carracci was busy working on the famous
921:
47:
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Denis Mahon: Egregius in Urbe Pictor: Caravaggio revised, The Burlington Magazine, Vol. 93, No. 580 (Jul., 1951), p. 226
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341:
142:
536:
Peter and Linda Murray: The Oxford Companion to Christian Art and Architecture, Oxford University Press, 1996, p. 38
810:
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762:
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527:
Ann Sutherland Harris: Seventeenth-century Art and Architecture, Laurence King Publishing, London, 2005, p. 43
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913:
858:
738:
615:
197:
284:
The painting largely follows the iconographic tradition concerning the depiction of the Assumption in
1158:
1034:
1026:
333:
176:. He purchased a chapel on the same spot from the Augustinian friars on 8 July 1600 and commissioned
1184:
1163:
136:
was created in 1600–1601. The artwork is somewhat overshadowed by the two more famous paintings of
1018:
241:
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994:
882:
360:
1204:
834:
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The painting was not regarded among Carracci's best works by his two 17th-century biographers.
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92:
277:. Still neither ancient reliefs nor Raphael crowded their pictorial fields in this way", says
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978:
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289:
173:
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58:
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109:
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in the central medaillon of the barrel-vault that shows the final episode in the
193:
468:
217:
165:
133:
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666:
177:
121:
1148:
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only mentions it shortly when listing the late works of the artist while
262:
205:
84:
245 cm Ă— 155 cm (96 in Ă— 61 in)
266:
164:
The chapel in the left transept of the basilica was built by Monsignor
137:
245:
The painting was designed to be looked at as part of a larger ensemble
607:
1095:
Saint Didacus of Alcalá Presenting Juan de Herrera's Son to Christ
955:
The Madonna and Sleeping Child with the Infant St John the Baptist
337:
274:
153:
345:
316:
A supposed model for the central figure is the Virgin of the
308:
129:
96:
332:. An even more important antecedent for the panel is the
152:. Both painters were important in the development of
787:
The Virgin Appears to Saint Luke and Saint Catherine
143:
The Conversion of Saint Paul on the Road to Damascus
819:
Madonna and Child in Glory over the City of Bologna
715:
PietĂ with Saints Clare, Francis and Mary Magdalene
430:Two apostles bending over the tomb, sketch in the
1103:PietĂ with Saint Francis and Saint Mary Magdalene
1176:
1051:Portrait of Monsignor Giovanni Battista Agucchi
906:Christ in Glory with Saints and Odoardo Farnese
181:and sketches by Carracci are preserved in the
623:
452:Fondazione Federico Zeri - Catalogo Fototeca
630:
616:
46:
1195:Paintings of the Assumption of the Virgin
1011:Portable Altarpiece with PietĂ and Saints
415:Robes of the Virgin, preparatory study,
400:Hands of an apostle, preparatory study,
307:
240:
18:Assumption of the Virgin (Cerasi Chapel)
930:Christ Appearing to Saint Anthony Abbot
503:
462:
14:
1177:
637:
611:
1063:Landscape with the Flight into Egypt
723:The Mystic Marriage of St Catherine
24:
1210:Artworks in Santa Maria del Popolo
25:
1221:
755:Venus with a Satyr and Two Cupids
296:is a nod to local sensitivities.
140:on the side walls of the chapel:
423:
408:
393:
385:Saint Peter, preparatory study,
378:
265:(the older man on the left) and
120:is the altarpiece of the famous
595:
586:
577:
568:
558:
1190:Paintings by Annibale Carracci
867:Christ and the Canaanite Woman
827:Christ and the Samaritan Woman
539:
530:
521:
512:
494:
485:
456:
445:
236:
149:The Crucifixion of Saint Peter
13:
1:
1079:Rest on the Flight into Egypt
803:Madonna and Child with Saints
747:Madonna and Child with Saints
699:An Allegory of Truth and Time
438:
303:
27:Painting by Annibale Carracci
7:
1154:Accademia degli Incamminati
1043:The Martyrdom of St Stephen
971:The Three Marys at the Tomb
731:The Vision of Saint Eustace
500:Denis Mahon op. cit. p. 230
10:
1226:
946:Christ Crowned with Thorns
938:Christ Crowned with Thorns
914:The Death of Saint Francis
739:Two Children Teasing a Cat
555:, Torino, 2012, pp. 34-38.
371:
159:
114:L'Assunzione della Vergine
40:L'Assunzione della Vergine
1159:Palazzo Sampieri frescoes
1129:
1035:Self-Portrait on an Easel
922:Saint Margaret of Antioch
645:
172:and Treasurer-General to
88:
80:
72:
64:
54:
45:
37:
32:
987:Assumption of the Virgin
779:Assumption of the Virgin
771:Self-Portrait in Profile
463:Hibbard, Howard (1983).
342:Assumption of the Virgin
251:Coronation of the Virgin
106:Assumption of the Virgin
33:Assumption of the Virgin
1119:The Birth of the Virgin
1071:The Dead Christ Mourned
995:Saint Gregory at Prayer
883:Venus, Adonis and Cupid
683:Crucifixion with Saints
361:Giovanni Pietro Bellori
896:The Choice of Hercules
835:Saint Roch Giving Alms
313:
246:
226:
126:Santa Maria del Popolo
113:
93:Santa Maria del Popolo
1111:The Loves of the Gods
1019:PietĂ with Two Angels
365:Carlo Cesare Malvasia
311:
294:principes apostolorum
279:Ann Sutherland Harris
244:
222:
220:and dated to 2 June:
170:Consistorial Advocate
875:Entombment of Christ
312:Titian's Assumption
216:written perhaps by
979:Rinaldo and Armida
659:The Laughing Youth
330:Church of the GesĂą
322:Giuseppe Valeriano
314:
255:Life of the Virgin
247:
231:Assumption of Mary
1172:
1171:
1143:Ludovico Carracci
1137:Agostino Carracci
1003:Domine quo vadis?
990:(Rome; 1600–1601)
707:Baptism of Christ
653:List of paintings
639:Annibale Carracci
290:Archangel Michael
202:Innocenzo Tacconi
174:Pope Clement VIII
124:in the church of
118:Annibale Carracci
102:
101:
59:Annibale Carracci
16:(Redirected from
1217:
890:Camerino Farnese
691:Corpse of Christ
632:
625:
618:
609:
608:
602:
599:
593:
590:
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562:
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549:Tomaso Montanari
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489:
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460:
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432:Royal Collection
427:
417:Royal Collection
412:
402:Royal Collection
397:
387:Royal Collection
382:
326:Scipione Pulzone
183:Royal Collection
50:
30:
29:
21:
1225:
1224:
1220:
1219:
1218:
1216:
1215:
1214:
1185:1600s paintings
1175:
1174:
1173:
1168:
1164:Palazzo Magnani
1125:
859:River Landscape
641:
636:
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471:. p. 119.
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334:Transfiguration
306:
239:
198:Odoardo Farnese
194:Palazzo Farnese
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28:
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15:
12:
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5:
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1059:
1047:
1046:(c. 1603–1604)
1039:
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1027:Sleeping Venus
1023:
1015:
1007:
999:
998:(c. 1600–1602)
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958:(c. 1599–1600)
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950:(c. 1598–1600)
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909:(c. 1597–1598)
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782:(Madrid; 1590)
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675:Butcher's Shop
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469:Westview Press
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305:
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238:
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218:Giulio Mancini
166:Tiberio Cerasi
161:
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134:panel painting
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1205:Angels in art
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854:(before 1595)
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795:Self-Portrait
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667:The Beaneater
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478:0-06-430128-1
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196:for Cardinal
195:
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186:
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179:
178:Carlo Maderno
175:
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155:
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145:
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122:Cerasi Chapel
119:
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63:
60:
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49:
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36:
31:
19:
1149:The Carracci
1117:
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1101:
1093:
1085:
1077:
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849:
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833:
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811:Resurrection
809:
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546:(in Italian)
541:
532:
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487:
464:
458:
447:
358:
354:
350:profil perdu
349:
317:
315:
298:
293:
283:
271:
250:
248:
227:
223:
213:
210:
190:fresco cycle
187:
163:
147:
141:
132:. The large
105:
103:
39:
1200:Altarpieces
1122:(1605–1609)
1106:(1602–1607)
1090:(1600–1605)
1038:(1603–1604)
941:(1598–1600)
933:(1598–1600)
917:(1597–1598)
870:(1594–1595)
838:(1587–1595)
830:(1593–1594)
766:(1587–1590)
763:Lamentation
758:(1588–1590)
742:(1587–1588)
734:(1585–1586)
702:(1584–1585)
694:(1583–1585)
670:(1580–1590)
286:Western art
263:Saint Peter
237:Description
206:Denis Mahon
76:oil on wood
1179:Categories
553:Il Barocco
465:Caravaggio
439:References
318:Assumption
304:Influences
267:Saint Paul
259:Assumption
257:after the
138:Caravaggio
81:Dimensions
1139:(brother)
1098:(c. 1606)
1082:(c. 1604)
1074:(c. 1604)
1066:(c. 1604)
1030:(c. 1603)
1022:(c. 1603)
1006:(c. 1602)
982:(c. 1601)
974:(c. 1600)
966:(c. 1600)
948:(Bologna)
886:(c. 1595)
878:(c. 1595)
862:(c. 1590)
822:(c. 1593)
726:(c. 1585)
646:Paintings
68:1600–1601
38:Italian:
1145:(cousin)
1056:disputed
1054:(1604) (
89:Location
1130:Related
851:Hunting
843:Fishing
774:(1590s)
662:(1580s)
372:Gallery
338:Raphael
328:in the
275:Raphael
192:of the
160:History
154:Baroque
110:Italian
1114:(1608)
1014:(1603)
925:(1599)
899:(1596)
814:(1593)
806:(1593)
798:(1593)
790:(1592)
750:(1588)
718:(1585)
710:(1585)
686:(1583)
678:(1583)
475:
346:Titian
214:avviso
73:Medium
55:Artist
1087:Danaë
963:PietĂ
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473:ISBN
324:and
146:and
130:Rome
104:The
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65:Year
565:79.
344:by
336:of
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128:in
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467:.
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281:.
233:.
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185:.
168:,
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631:e
624:t
617:v
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108:(
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