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The Carracci () were a Bolognese family of artists that played an instrumental role in bringing forth the art movement known as the Baroque. Brothers Annibale (1560–1609) and Agostino (1557–1602) along with their cousin Ludovico (1555–1619) worked collaboratively on art works and art theories pertaining to the Baroque style. The Carracci family left their legacy in art theory by starting a school for artists in 1582. The school was called the ''Accademia degli Incamminati'', and its main focus was to oppose and challenge Mannerist artistic practices and principles in order to create art that was avant-garde with a new modernist edge. “Jointly they effected an artistic reform that overthrew Mannerist aesthetics and initiated the Baroque.”〔 ==Art Theory== The importance of their artistic and theoretical activity, recognized in all three painters, underlined by the studies of critics and historians of the arts such as André Chastel, Giulio Carlo Argan, and many others, has decisively contributed to the exit of the crisis of Mannerism, to the formation of the figurative Baroque, and to new pictorial solutions based on the recuperation of the classical and Renaissance tradition but renewed following the practice and the precepts of the study of the true and of the design. The crisis of the culture of Catholicism was highlighted after the Protestant Reform (in 1517 Martin Luther expounded his 95 theses in Wittenberg), and the successive “sack of Rome” by the troops of Charles V in 1527, facts that rendered the papal capital more insecure and unstable, and less attractive to the artists of the Roman epoch who at the end of the 16th century were less inclined to produce a new artistic movement. The mannerist art that wearily replicated the style of the masters of the Renaissance, emphasizing the formal complications and virtuosity, no longer obeyed the need for clarity and devotion. Bologna was at the center of a territory in which the work of the artists traditionally had a pronounced devotional and pietistic character, and furthermore found themselves in close contact with Padana and Venetian art. On these cultural and aesthetic bases the Carracci developed their work as theorists of artistic renewal, emphasizing the humanity of subjects and the clarity of the sacred scenes. The eclecticism of their art, the respect for tradition and a language adapted to the public places frequented by the working classes satisfied the desires of the church of the Counter-Reformation that needed a new mode to express its primacy over the other religions and confirm that art could and had to be a vehicle towards faith. The Carracci fit perfectly into the political and artistic moment of the epoch, they understand the need for an artistic tension that could reflect the new desires and that was free from the artifacts and the complexity of Mannerism. Another principle of the Carracci doctrine was the devotional aspect, the respect of the orthodoxy of the represented history. In doing this the Carracci followed the instructions contained in the work of the theorists of the time such as the Cardinal Gabriele Paleotti, author in 1582 of the sermon on the sacred images and the profane which advocated for the control on the part of the ecclesiastic authority of the contents of the sacred scenes (the saints and their attributes had to be easily recognizable and respectful of the traditional, additionally the stories had to demonstrate fidelity towards the sacred texts), while the artists retained the “liberty” to choose the most suitable style. Another point of reference to was the work of Giovanni Andrea Gilio, author of two dialogues…on the errors of painters in 1564 in which it criticized the excesses of refinement, of allegories and the bizarre inventions of the Mannerist art. The stories and the characters rendered lifelike in imitation of nature had to then be ennobled by the exercise of the art and refined on the example of the great masters of the past such as Raphael Sanzio and Michelangelo Buonarroti, but also Tiziano, Veronese, Tintoretto, Correggio, and Parmigianino. Agostino was also an important printmaker, reproducing the works of masters from the 16th century (mainly Correggio and Veronese) as examples to imitate for the numerous students of their school. Annibale was the most talented and the one who, following his trip to Rome in 1595 where the works would be exhibited until his death in 1609, exercised an decisive influence on the fate of Italian painting at the dawn of the 17th century. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「The Carracci」の詳細全文を読む スポンサード リンク
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