Lecture 28: Annibale Carracci and the Reform of Art
Another view shows a corner of the Farnese Gallery. This is painted to show
male nudes, bronze medallions, an opening to the sky between the painted
architecture, and “framed” paintings. Note that Annibale’s nudes differ from
Michelangelo’s in the lack of tension in their poses.Another panel in the Farnese Gallery depicts Polyphemus and Galatea.
Polyphemus, the one-eyed giant, plays the pan pipes that symbolize lust and
sings to Galatea in the nearby sea. She is supported by two nymphs and a
dolphin. Soon after this, she À ees with her lover, Acis.At the other end of the gallery is Polyphemus and Acis. Polyphemus lifts
a huge rock to throw at the À eeing couple. The Triumph of Bacchus and
Ariadne (c. 1597–1600) is a fresco representing the two characters as a
married couple. This subject was often found on Roman sarcophagi, and it
is clear that Annibale closely studied them. We see a relief-like composition,
which is appropriate for Annibale’s concept of these scenes as easel paintings
mounted on the ceiling. The Bacchic procession is divided into two groups,
with the center left open. The group at right shows Silenus being carried,
while Bacchus and Ariadne are at left. In the middle, a satyr and maenad face
each other. Bacchus faces out and holds grapes in his left hand. Ariadne, in
her own chariot, is about to receive the crown of stars. For this commission
for a cardinal’s palace, the subjects of the gallery and Camerino were dictated
to Annibale by one of the cardinal’s advisors. There was a Christian or moral
meaning that overlaid the mythological scenes.Domine Quo Vadis? (Lord, Where Are You Going?) (c. 1602) is one of the
¿ rst great paintings to which the term Counter-Reformation can be applied.
As St. Peter was leaving Rome, fearing capture and torture, he met Christ
coming back in with his cross. Peter asks Christ where he is going, to which
Christ replies that he is going to his second cruci¿ xion. Peter then returns
to Rome.Our last work is Annibale’s Pietà (c. 1599–1600), probably painted for
Cardinal Odoardo Farnese. This painting combines the formal grandeur of
Michelangelo’s Pietà, the spirit of Giovanni Bellini’s Lamentation, and an
echo of the expressive distortions of Mannerism. Note the resonant blue
of the Virgin’s robe and the curving body of Christ tilted toward us. Soon