Collection of Prints and Drawings

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Production People
Annibale Carracci (Print made by)artist bio
Carracci, Annibale
b Bologna, bapt 3 Nov 1560; d Rome, 15 July 1609

Nicolas van Aelst (Published by)artist bio
Aelst, Nicolas van
b 1550s?; d 1613
Title / Description
Pieta [The Christ of Caprarola]
 
Date
1597
 
Technique
etching, engraving, drypoint
Material
paper
Dimensions
124 x 164 mm (sheet, trimmed close to platemark)
Inscriptions
Signed and dated lower left: 'Annibal Caracius in fe. Caprarolae. 1597' and inscribed with publisher's address: 'Nico Van Aelst for.'
State
sixth state of seven
 
Watermark
no
Provenance
Nikolaus Esterházy (Lugt 1966)
 
References
Bartsch XVIII.182.4 (third state of three) info
Adam Bartsch, Le peintre-graveur, vols. 21, Vienna 1803-21

Bohlin 1979, no. 18 (sixth state of seven) info
Diane DeGrazia Bohlin, Prints and Related Drawings by the Carracci Family: A Catalogue Raisonné, National Gallery of Art, Washington 1979

Bohn in TIB 1996, 3906.017.S6 (sixth state of seven) info
Babette Bohn, Italian Masters of the Sixteenth-Century: Bartolommeo Passarotti, Domenico Tibaldi, Camillo Procaccini, Ludovico Carracci, and Annibale Carracci, The Illustrated Bartsch, vol. 39, Part 2 (Commentary), New York 1996
 
Comment
This was Annibale Carracci's most popular print, known in seven states and reproduced in sixteen printed copies. Around the time of the print's execution, Annibale was working on the decoration of the Farnese Gallery in Rome, and on the basis of the print's inscription, Bohlin supposed that he made this print during a visit to the nearby Caprarola. This is Annibale's only print in which he used drypoint. The composition was inspired by Antonio Correggio's Lamentation, once in San Giovanni Evangelista, Parma, today in Galleria Nazionale, Parma. Bohn in TIB pointed out the connection with a drawing by Annibale or Agostino Carracci after Correggio's painting, in the Codice Resta, Biblioteca Ambrosiana, Milan. Annibale's drawing in the Ashmolean Museum, Oxford, inv. no. 161, was made in preparation for the figure of the Magdalen. Another sketch in the Louvre, inv. no. 7162, has been connected with the print, but in Bohn's opinion it is rather related to the tabernacle in the Galleria Nazionale, Rome. Annibale was preoccupied with this subject at the end of his life. His small painting in the Kunsthistorisches Museum, Vienna, is closest to the spirit of this print.
 
Inventory Number
6091
 
Classification
Prints: Italian: 16th century: Mounted I
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