Pacific Fine Art

Annibale Carracci Original Antique Italian Baroque Classicism Bologna Old Master Landscape Spoleto Aqueduct Oil Painting Ponte Di Annibale Umbria

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Original, antique, Italian Baroque Classicism Manner, Old Master oil painting on canvas, of a landscape of a fortified town, near a river, with figures; in the Bologna school of art, attributed to Annibale Carracci, (1560-1609). Background architecture is of the Rocca Albornoz, a papal fortress, built 1359-64. Directly next to the fortress is an aqueduct; named Ponte Di Annibale, in Spoleto, Italy; (named after after the artist, Annibale Carracci).

https://commons.wikimedia.org/wiki/File:Lago_di_Piediluco,_la_Rocca_Albornoz.jpg

https://www.themaprogetto.it/museo-nazionale-ducato-spoleto-rocca-albornoziana/

Annibale Carracci (1560–1609) was the most admired painter of his time and a vital force in the creation of the Baroque style. Together with his cousin Ludovico (1555–1619) and his older brother Agostino (1557–1602)—each an outstanding artist—Annibale set out to transform Italian painting. Carracci rejected the artificiality of Mannerist painting, championing a return to nature coupled with the study of the great northern Italian painters of the Renaissance, especially Correggio, Titian, and Veronese.

This Italian Old Master oil painting's manner is Italian Classicism, in the Bologna, Italy, Baroque School of Art. The subject is a landscape in Spoleto, Italy. The Rocca Albornoz, (upper right; background), was a papal fortress, that was well known to the artist, with an aqueduct that was named for the artist, ( Porta di Annibale). Madonna paintings by Annibale Carracci, still reside in the Cathedral.

Annibale Carracci, Attributed
Old Master
Italian Baroque, Classicism manner
(1560-1609)
Bologna, Rome, Italy
Subject: Landscape and genre, with Ponte Di Annibale, Spoleto, Italy in the background;
Bradshaw's Italy

Bradshaw's illustrated hand-book to Italy, Volume 11

End of page 149-beginning of page 150

Online Reference/Link: https://books.google.com/books?id=uXkDAAAAQAAJ&pg=PA150&lpg=PA150&dq=annibale+carracci+aqueduct&source=bl&ots=jF3WnHLOG4&sig=ACfU3U01g5f1-ZRu8avvXj31WPmJ6nWtAA&hl=en&sa=X&ved=2ahUKEwju6Z-Ugb3jAhXHs54KHUnxCzUQ6AEwC3oECAgQAQ#v=onepage&q=annibale%20carracci%20aqueduct&f=false

The background landscape appears to be of a small town, in Italy, named Spoleto. It is written about in length, in the book, Bradshaw's Italy; explaining various towns, and landscapes, with their history, in Italy. The aqueduct in the background appears to be Ponte is a frazione of the comune of Cerreto di Spoleto in the Province of Perugia, Umbria, central Italy.

"One of the gates, in its thick gothic wall, called Porta de Annibale, (named for the artist), or Di Fuga, is a triumphal Arch, with an inscription (recorded a much later date than his time), recording Hannibal's repulse, when he attempted to advance towards Rome."

"The lofty aqueduct, which also serves as a roadway, is 680 feet long, and at one part, nearly 290 high; it is on ten Gothic arches, and is supposed to be of the seventh or eighth century. There are traces of Theodoric's Palace, which was built by Narses, after its ruin by the Goths."

"The Cathedral is a handsome church, originally in the Lombard style, restored in 1644. It has a gold mosaic on its front, of 1207, and contains Madonnas, by Annibale Carracci, and Filippo Lippi, who was buried here, by Lorenzo de Medici, with an epitaph by Politian."

The painting alone measures approximately 18.25" X 41", without a frame; (larger, and panoramic)
Oil on Canvas relined
The antique frame is very old and has some cracks in the paint, and some damage; (most noticeable is the scratch/chip along the bottom, lower right, as shown), but is in overall, stable condition.
At a point in time, approximately 1850, the painting was relined, as shown by a somewhat lighter shade of canvas on the back, and the thicker canvas; however was long ago, as older nails from approximately the mid-19th century, are present, holding the canvas to the wood stretcher frame, verso. The painting has a few issues. The painting was torn in the middle, with a repair showing of approximately 6 inches. There is also another professionally repaired tear, (both tears evidenced by patches on the back, which were repaired, within the last couple of years), that is a couple of inches smaller. Some chips are missing from the paint; and there is an abrasion, to the lower right, that is missing paint, and will need to be restored. Much of the very old, and darkened varnish has been removed, to reveal the beautiful colors and detail; some of the original varnish remains, more noticeably, around the darker edges; where layers of dark, aged varnish are still visible. Fortunately, throughout the centuries, the painting was re-varnished quite a few times; and this has prevented the painting from developing craquelure, within the painting; leaving the paint in an overall stable condition, for age. Please review all detailed images, for physical condition.

Ph:424-259-3290