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Ludovico Carracci Oil Painting Reproductions
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Ludovico Carracci The Virgin and Child Appearing to ST Hyacinth (mk05) oil


Ludovico Carracci
The Virgin and Child Appearing to ST Hyacinth (mk05)
Painting ID::  20344
new5/Ludovico Carracci-276558.jpg 		The Virgin and Child Appearing to ST Hyacinth (mk05)
1594 Canvas,147 1/2 x 88'(375 x 223 cm)From the Turrini Chapel in San Domenico in Bologna,1796;entered the Louvre in 1797
   
   
     
Ludovico Carracci Recreation by our Gallery oil


Ludovico Carracci
Recreation by our Gallery
Painting ID::  32605
new9/Ludovico Carracci-857447.jpg 		Recreation by our Gallery
mk79 About 1593
   
   
     
Ludovico Carracci Susannah and the Elders oil


Ludovico Carracci
Susannah and the Elders
Painting ID::  43083
new16/Ludovico Carracci-256826.jpg 		Susannah and the Elders
mk170 1616 Oil on canvas 146.6x116.5cm
   
   
     
Ludovico Carracci Bargellini Madonna oil


Ludovico Carracci
Bargellini Madonna
Painting ID::  58297
new20/Ludovico Carracci-538244.jpg 		Bargellini Madonna
Bargellini Madonna (1588) Oil on canvas, 282 x 188 cm Pinacoteca Nazionale, Bologna.
   
   
     
Ludovico Carracci Portrait of Carlo Alberto Rati Opizzoni in Armour oil


Ludovico Carracci
Portrait of Carlo Alberto Rati Opizzoni in Armour
Painting ID::  76327
new24/Ludovico Carracci-746436.jpg 		Portrait of Carlo Alberto Rati Opizzoni in Armour
Date 1597-1600 Medium Oil on canvas Dimensions 101 ?? 85 cm (39.8 ?? 33.5 in) cyf
   
   
     
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     Ludovico Carracci
     (Bologna 1555-1619) Painter, draughtsman and etcher. His father, Vincenzo Carracci, was a butcher, whose profession may be alluded to in Ludovico's nickname 'il Bue', though this might also be a reference to the artist's own slowness. Ludovico's style was less classical than that of his younger cousins Agostino and Annibale, perhaps because of a mystical turn of mind that gave his figures a sense of other-worldliness. Like his cousins, he espoused the direct study of nature, especially through figure drawing, and was inspired by the paintings of Correggio and the Venetians. However, there survives in his work, more than in that of his cousins, a residue of the Mannerist style that had dominated Bolognese painting for most of the mid-16th century. Ludovico maintained a balance between this Mannerist matrix, his innate religious piety and the naturalism of the work of his cousins. With the exception of some travels during his training and a brief visit to Rome in 1602, Ludovico's career was spent almost entirely in Bologna.

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