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Ludovico Carracci The Virgin and Child Appearing to ST Hyacinth (mk05) oil painting


The Virgin and Child Appearing to ST Hyacinth (mk05)
Painting ID::  20344
Ludovico Carracci
The Virgin and Child Appearing to ST Hyacinth (mk05)
1594 Canvas,147 1/2 x 88'(375 x 223 cm)From the Turrini Chapel in San Domenico in Bologna,1796;entered the Louvre in 1797

   
   
     

Ludovico Carracci Recreation by our Gallery oil painting


Recreation by our Gallery
Painting ID::  32605
Ludovico Carracci
Recreation by our Gallery
mk79 About 1593

   
   
     

Ludovico Carracci Susannah and the Elders oil painting


Susannah and the Elders
Painting ID::  43083
Ludovico Carracci
Susannah and the Elders
mk170 1616 Oil on canvas 146.6x116.5cm

   
   
     

Ludovico Carracci Bargellini Madonna oil painting


Bargellini Madonna
Painting ID::  58297
Ludovico Carracci
Bargellini Madonna
Bargellini Madonna (1588) Oil on canvas, 282 x 188 cm Pinacoteca Nazionale, Bologna.

   
   
     

Ludovico Carracci Portrait of Carlo Alberto Rati Opizzoni in Armour oil painting


Portrait of Carlo Alberto Rati Opizzoni in Armour
Painting ID::  76327
Ludovico Carracci
Portrait of Carlo Alberto Rati Opizzoni in Armour
Date 1597-1600 Medium Oil on canvas Dimensions 101 ?? 85 cm (39.8 ?? 33.5 in) cyf

   
   
     

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     Ludovico Carracci
     (Bologna 1555-1619) Painter, draughtsman and etcher. His father, Vincenzo Carracci, was a butcher, whose profession may be alluded to in Ludovico's nickname 'il Bue', though this might also be a reference to the artist's own slowness. Ludovico's style was less classical than that of his younger cousins Agostino and Annibale, perhaps because of a mystical turn of mind that gave his figures a sense of other-worldliness. Like his cousins, he espoused the direct study of nature, especially through figure drawing, and was inspired by the paintings of Correggio and the Venetians. However, there survives in his work, more than in that of his cousins, a residue of the Mannerist style that had dominated Bolognese painting for most of the mid-16th century. Ludovico maintained a balance between this Mannerist matrix, his innate religious piety and the naturalism of the work of his cousins. With the exception of some travels during his training and a brief visit to Rome in 1602, Ludovico's career was spent almost entirely in Bologna.

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