Collection of Prints and Drawings

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Agostino Carracci (Print made by)artist bio
Carracci, Agostino
b Bologna, 15 Aug 1557; d Parma, 22 March 1602

Federico Barocci (After)artist bio
Barocci, Federico
b Urbino, c. 1535; d Urbino, 30 Sept 1612

Donato Rasciotti (Published by)artist bio
Rasciotti, Donato [Rascicotti, Donato; Rasicotti, Donato; Rasciotti, Donato; Rosigotti, Donato; Rascichotti, Donato]
fl. 1572-1612
Title / Description
Aeneas and His Family Fleeing Troy
404 x 523 mm (sheet, trimmed close to platemark)
Signed and dated in the margin at right: 'Ago. Carr/Fe/1595', inscribed at left: 'Federicus/Barocius/Urbinas/Inuen', dedication at centre: 'ODOARDO FARNESIO / Cardinali Amplissimo / Augustinus Carracci:s // Romuleus pietate, virum virtuteq. clarum / Vnus quem Vates cantat, et orbis amat, // Hic ODOARDO vides FARNESI, certa propaq. / Heroum, coetus purpureiq. iubar. / Tu pietate illum praestas virtuteq. totus / Te canit ecce Orbis, carus es et superis', inscribed with publisher's address within the image at left : 'Typis/Donati/Rasecottij'
only state
not visible
Nikolaus Esterházy (Lugt 1966)
Bartsch XVIII.99.110 info
Adam Bartsch, Le peintre-graveur, vols. 21, Vienna 1803-21

Pillsbury and Richards 1978, no. 79 info
Edmund P. Pillsbury and Luise S. Richards, The Graphic Art of Federico Barocci: Selected Drawings and Prints, exhibition catalogue, Cleveland, The Cleveland Museum of Art and New Haven, Yale University Art Gallery 1978

Bohlin 1979, no. 203 (only state) info
Diane DeGrazia Bohlin, Prints and Related Drawings by the Carracci Family: A Catalogue Raisonné, National Gallery of Art, Washington 1979

Bohn in TIB 1995, 3901.192 (only state) info
Babette Bohn, Italian Masters of the Sixteenth-Century: Agostino Carracci, The Illustrated Bartsch, vol. 39, Part 1 (Commentary), New York 1995

Bury 2001, no. 9 info
Michael Bury, The Print in Italy 1550-1620, exhibition catalogue, London, The British Museum 2001
This is Agostino Carracci's most famous work executed with his greatest skill. According to Malvasia, Agostino was so pleased with his interpretatio of Barocci's painting that he sent the painter two proof impresssions, in reply to which Barossi sent a letter of censure. Michael Bury claims that it demonstrates most of the spirit of Federico Barocci's manner and also reflects Hendrick Goltzius' influence. For Agostino's oil sketch of the same composition, preserved at Windsor, Royal Library, inv. no. 2343, see Bury 2001, no. 10, where the author claims that the issue of whether it was done in preparation for the print or is a derivation from the drawing actually used as model may not be resolved. The dedication on Agostino's print to Odoardo Farnese suggests that it was made in Rome when Agostino signed a contract for the decoration of the Palazzo Farnese. Agostino's direct source for the print is disputed, see Bohn in TIB. Barocci's first painted version of the subject, already lost, was commissioned by Emperor Rudolf II in 1586 and finished in 1589. He executed a replica for Giuliano della Rovere, signed and dated 1598, today preserved in the Galleria Borghese, Rome.
Inventory Number
Prints: Italian: 16th century: Mounted II
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