Carracci and Correggio: Influence and Artistic Style

Carracci's Artistic Relationships and Style (1580-87)

In 1580-81, Carracci collaborated closely with his brother Augustine, maintaining a strong relationship. Carracci's figures echo those used by Caravaggio in Saint Matthew (a motif previously employed by Tintoretto in San Marcos).

Barocci's Influence

According to Pérez Sánchez, Barocci's Virgin of the Popolo (1575-1580, Uffizi) features a character in shadows, dressed in the fashion of Philip II's time, possibly a portrait of a patron. Barocci's work is characterized by a misty, soft style. He is considered a much sweeter painter. Correggio's influence is evident in the faces of the Virgin.

Correggio: Another Worship is not just a depiction of worship but a sacred conversation with the apostles and St. Jerome. The scene is illuminated from two shaded areas, framing the composition. Red highlights important elements, creating balance. The anatomy of St. Jerome is emphasized, showcasing his nakedness (Carracci studied the natural body to interpret figures). The composition is sotto in su, intended to be viewed from below.

In Baptism, the center is illuminated between two blocks of shadow, similar to Correggio's style, with a tree framing the scene, a common element in Titian's work (linking Correggio, Venetian influence, and Carracci). Red is used prominently. This is a front panel.

Annibale Carracci's Marriage of Saint Catherine (1585-1587)

This common Venetian theme depicts the hagiographies of saints. Like Correggio (unusually), Carracci incorporates extensive background landscapes, relating to the Venetian school. Northern artists (Parma, Veneto, etc.) valued landscapes. The foreground features monumental figures (Renaissance influence). Carracci integrates proportionate figures into the landscape, closing the background and bringing figures forward. He uses light miraculously. Hands are central, forming curves. The circular composition reflects classicism. The landscape is closed off by an angel. An isolated figure looks at the viewer (portrait influence). The painting should be positioned so the viewer's eyes match the sitter's (horizon). Elegant figures derive from the Renaissance ideal, especially in depictions of the Virgin and Child (more decorous than Caravaggio).

Correggio's Marriage of St. Catherine (1526-7, Louvre) with S. Sebastian

The composition is centered, framed by two trees. It's an afternoon scene, more human; the angel and Virgin lack halos, portraying an everyday scene. Two sets of shadows illuminate the figures: Saint Catherine, the Child, and the hands meeting in the center.

Barocci's Rest on the Flight

Barocci depicts figures with small, subtle features, tied-back hair, and transparent veils. Boys and girls have curly blonde hair and rosy cheeks, appearing very natural.

Annibale Carracci's Assumption of the Virgin (1587-1590)

Two versions exist from this period, one for the fellowship of St. Roque (believed to be in the Prado Museum, more complex). These are large paintings. One was given to King Philip IV by the Earl of Mount. The Assumption and Immaculate Conception were common Baroque themes in Spain. The Immaculate Conception, championed by Spanish kings since the Catholic Monarchs, became dogma in the 16th century. The Virgin is depicted as dead, placed centrally in the grave (a parallel to Christ's resurrection).

Titian's Assumption (1516-1518)

Titian's work represents the Middle Ages but is infused with a new naturalism. He is the first to depict the Virgin rising from her grave, with apostles forming a circle, dividing the earthly and heavenly realms. The dynamic composition, conveyed through the apostles' eyes and gestures, leads the viewer to the Virgin as intercessor. She is depicted as a human figure with arms extended upwards, awaiting God the Father (gloria). Red is emphasized. The upward movement has a central axis formed by the Virgin and God the Father, seated above the apostles, creating a triangle.

Carracci's version also centers on the grave with surrounding apostles, their gazes directing attention to the Virgin. A noble figure with outstretched hands connects the viewer to the Virgin. Figures among the apostles also lead to the Virgin. The main differences lie in the Virgin's gestures and movements: she rises, with arms and eyes open, creating an upward motion that contrasts with Barocci's stability. Carracci's composition is dynamic. Both artists incorporate architectural references derived from Venetian influence.