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Annibale Carracci
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    (November 3, 1560-July 15, 1609)
    Born in Bologna, Italy
    One of the progenitors of a leading strand of the Baroque style that revived High Renaissance elements in art
    Generally credited with inventing the caricature
    Paintings include 'The Beaneater' (1580-90), 'The Butcher's Shop' (1583), 'The Baptism of Christ' (1584), 'The Mystical Marriage of St. Catherine' (1585), 'Madonna Enthroned with St. Matthew' (1588), 'Assumption of the Virgin' (1590, 1600-01), 'Venus, Adonis and Cupid' (1595), 'The Choice of Hercules' (1596), 'Domine, quo vadis?' (1602), and 'Landscape with the Flight to Egypt' (1603)
    Cofounded Accademia degli Incamminati with his brother Agostino and cousin Ludovico in Bologna (1582)
    Died of fever in Rome
    Buried near Raphael at the Pantheon
    He had a melancholic personality.
    In many early Bolognese works of him, his brother, and their cousin, it's hard to distinguish which artwork was done by each.
    He failed to complete a commission given to him by the Duke of Modena. (1607)
    Art critic Giovanni Bellori commented that his style was over-naturalistic.
    Contemporary viewers tend to view his paintings stiff and formal, unlike his lively drawings.
    Visitors to the Cerasi Chapel would ignore his Assumption of the Virgin altarpiece in favor of Caravaggio's works.
    John Ruskin hated him along with other Bolognese painters, remarking that they had 'no single virtue, color, drawing, character, history, nor thought', contributing to his obscurity until the second half of the 20th Century.
    He was the master of fresco painting, the test of a great painter's mettle in his time.
    He was the most talented painter among his brother and cousin.
    His style dominated the art scene of the 17the Century, influencing other artists like Peter Paul Rubens and Gian Lorenzo Bernini.
    The Farnese Ceiling, which he worked on, was widely regarded as one of the masterpieces of painting.
    He was underpaid by his patron Cardinal Odoardo Farnese when working at the Palazzo Farnese.
    Giovanni Bellori praised him for fostering a 'renaissance' of the great tradition of Raphael and Michelangelo.
    The subjects of his paintings are depicted with human emotions and postures, reflecting his insistence on direct observation of nature.

Credit: Big Lenny

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