CIRCLE OF ANNIBALE CARRACCI (Bologna, 1560 - Rome,... Lot n° 38

Circle of ANNIBALE CARRACCI (Bologna, 1560 - Rome, 1609), 17th century. "Portrait of a Gentleman. Oil on canvas. Re-coloured. It possesses frame of the 19th century. Measurements: 44 x 50 cm; 57,5 x 63 cm (frame). It is remarkable the presence of a double portrait in this work, as it was not a usual theme at that time. In the painting, the artist arranges the two knights in a square format with a neutral, dark background, which gives great prominence to the figures of the protagonists, thus avoiding any anecdotal element that does not form part of the main figures. Each of the figures is arranged in the side areas of the composition, to a certain extent taking up the centre of the scene as there is not a great distance between them. One of the young men looks directly at the viewer, while the other looks at his companion, also smiling. These mischievous attitudes, together with the clothes that can be seen, indicate that these are young men who belong to a lower class, making this a portrait with a certain costumbrista air, which was very fashionable at the time. In fact, it is interesting to relate this work to the painting known as The Butcher's Shop, painted by Annibale Carraci between 1580 and 1590 and now in the collection of the Galleria Colonna in Rome. Carraci's connection with Vicenzo Campi and the painter Passaroti led to the artist's great influence and interest in depicting genre themes. A subject matter in which the artist employed a rougher style in relation to his more classicist works. Thus harmonising aesthetics and subject matter. At the beginning of the 17th century, while Caravaggio was breaking with Mannerist and even Renaissance conventions, a new way of understanding painting emerged in Bologna under the guidance of Carracci, commonly known as "eclecticism". It sought to integrate the best of each master, especially Michelangelo, Raphael, Titian, Veronese and Correggio. However, Annibale Carracci's personality led him to evolve towards a highly personal classicism that did not disdain certain Caravaggiesque achievements.