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Co-Founder of the Baroque



Ludovico Carracci, Emilian school ca.1600's

It is hard to underestimate the importance of the Carracci family on the Baroque, and the eldest member, Ludovico who was born today in 1555 formed a historic art school along with his cousins Agostino and Annibale, Accademia dei Desiderosi which later became Accademia degli Incamminati to symbolize the arduous path artists must undergo in developing their craft. Ludovico was the first to resist the Mannerist tendency of the late 1500's and return to an appreciation of nature, teaching such innovations as life drawing from the nude model as a regular curriculum, anatomy, and with help from Agostino and Annibale, the return to Humanism with the blending of Florentine and Venetian art. Ludovico wasn't the most talented of the three, but was a highly influential teacher and ran the school alone when Agostino and Annibale headed to work in Rome. Tingere non leccare, tint don't lick literally, meaning paint don't polish, was one of his many precepts.

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More Old Master Drawings

There is nothing in all the world more beautiful or significant of the laws of the universe than the nude human body.
Robert Henri








Charles Louis Müller, A Standing Female Nude Leaning Against an Arch, ca.1864

Once again I decided to talk about some Old Master drawings and delve into the thinking behind how these drawings may have been created and the knowledge of the artist. In the above drawing by Müller, done in sanguine with white chalk highlights, the figure is drawn from a low view-point, with her body twisting toward her left side while resting on one knee. Note how Müller alternates the bent right leg with the bent left arm to create dynamic contrast. The right arm is also foreshortened and partially in shadow. Expressing power and femininity, this is a study that is Renaissance in spirit, even Mannerist, revealing the female nude as sculptural yet always graceful.







Anton Raphael Mengs, Seated male nude viewed from the back, 1755

One of several Academic nude studies by Mengs, this …

Guercino il Magnifico

Self-Portrait of the Artist holding a Palette, ca.1635


Giovanni Francesco Barbieri, known as Guercino was born on February 8, 1591 in Cento, a small city near Ferrara. He is one of the great masters of the Italian Baroque and poet of painters. Noted for his speed and efficiency, Guercino also worked in a number of mediums with equal passion whether ink, chalk, charcoal, or oils. His nickname, which means 'little cross-eyes' in Italian, derives in part from an apocryphal childhood accident where he supposedly awoke from a deep sleep as a child from a loud scream that caused his eyes to cross. Another story says something was thrown into his eyes. At any rate, he was self-taught as an artist from as early as nine years old and by his early teens was discovered by the eldest of the Carracci where he would spend some time at the Accademia Degli Incamminati before venturing out on his own. Despite his apparent 'handicap', his vision and talent would make him a giant that few…

Pompeo Batoni

Apollo and two Muses, 1719

Giant of the Rococo and early Neoclassicism, Pompeo Batoni was born on January 25, 1708 in Lucca, Italy. Immensely popular in his time, his name sadly is not commonly recognized today because like many Old Masters, his work is not defined by one or two singular masterpieces but by an oeuvre that is overall, incredible. Batoni is something of an anomaly in that he had the midas touch in every genre he worked in, whether portraiture, mythological, and biblical. He trained under a few painters, notably Sebastiano Conca yet he quickly fused his own style together by reinterpreting Classicism with his own vigor for dynamic posing, color and anatomy that he felt was lacking in many artists of the Rococo. His reputation as a portraitist in Rome was highly successful, particularly for many British patrons of the Grand Tour who had heard of Batoni by word of mouth and sought his genius.

In Apollo and two Muses above Batoni seems to conjure mythology and Classicism w…