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Myth in Allegory

Myth in Allegory. Farnese Gallery Ceiling. Palazzo Farnese 1517-1589. Farnese Gallery 1595-1608. Odoardo Farnese Fresco cycles Fulvio Orsini Annibale Carracci 1557-1602 Agostino Carracci 1560-1609.

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Myth in Allegory

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  1. Myth in Allegory Farnese Gallery Ceiling

  2. Palazzo Farnese1517-1589

  3. Farnese Gallery1595-1608 • Odoardo Farnese • Fresco cycles • Fulvio Orsini • Annibale Carracci 1557-1602 • Agostino Carracci 1560-1609

  4. The Carracci was a family of Bolognese painters, the brothers Agostino (1557-1602) and Annibale (1560-1609) and their cousin Lodovico (1555-1619), who were prominent figures at the end of the 16th century in the movement against the prevailing Mannerist artificiality of Italian painting. In the early 1580s they opened a private teaching academy, which soon became a center for progressive art. It was originally called the Accademia dei Desiderosi ('Desiderosi' meaning 'desirous of fame and learning'), but later changed its name to Academia degli Incamminati (Academy of the Progressives). In their teaching they laid special emphasis on drawing from the life (all three were outstanding graphic artists) and clear draughtsmanship became a quality particularly associated with artists of the Bolognese School, notably Domenichino and Reni, two of the leading members of the following generation who trained with the Carracci. Annibale Carracci (b. 1560, Bologna, 1609, Roma)

  5. They continued working in close relationship until 1595, when Annibale, who was by far the greatest artist of the family, was called to Rome by Cardinal Odoardo Farnese to carry out his masterpiece, the decoration of the Farnese Gallery in the cardinal's family palace. He first decorated a small room called the Camerino with stories of Hercules, and in 1597 undertook the ceiling of the larger gallery, where the theme was The Loves of the Gods, or, as Bellori described it, "human love governed by Celestial love". Although the ceiling is rich in the interplay of various illusionistic elements, it retains fundamentally the self-contained and unambiguous character of High Renaissance decoration, drawing inspiration from Michelangelo's Sistine Ceiling and Raphael's frescos in the Vatican Loggie and the Farnesina. The full untrammelled stream of Baroque illusionism was still to come in the work of Cortona and Lanfranco, but Annibale's decoration was one of the foundations of their style. Throughout the 17th and 18th centuries the Farnese Ceiling was ranked alongside the Sistine Ceiling and Raphael's frescos in the Vatican Stanze as one of the supreme masterpieces of painting. It was enormously influential, not only as a pattern book of heroic figure design, but also as a model of technical procedure; Annibale made hundreds of drawings for the ceiling, and until the age of Romanticism such elaborate preparatory work became accepted as a fundamental part of composing any ambitious history painting. In this sense, Annibale exercised a more profound influence than his great contemporary Caravaggio, for the latter never worked in fresco, which was still regarded as the greatest test of a painter's ability and the most suitable vehicle for painting in the Grand Manner.

  6. Farnese Gallery1595-1608 • Fulvio Orsini • Music room • Sculpture gallery • Until 1965 no overall interpretation

  7. Interpretation • 1688- filthy stories made for princes of the Church

  8.  J. R. Martin, The Farnese Gallery • Neoplatonic Theory of Love • Three kinds of love

  9. C. Dempsey, “Et Nos Cedamus Amori: Observations on the Farnese Gallery,” Art Bulletin, 50 (1968), 363-374 • Humorous & Satiric Essay on Neoplatonic Theory • Epithalamium in paint • apotropaic • Ranuccio Farnese  1600

  10. Marsilio Ficino 1433-99 Ficino's love doctrine, expounded in his Commentarium in convivium Platonis de amore (1469; Commentary on Plato's “Symposium” about Love),

  11. Neoplatonic Theory of Loveall love begins with sight…. (1) DIVINE LOVE(agape), the expression of a contemplative life, whose goal is divine knowledge; (2) HUMAN LOVE (philia) and the active life, which delight in seeing and conversing with the loved person ; (3) BESTIAL LOVE (eros) and the voluptuous life which deserts the spiritual senses for the “concupiscence of touch.”

  12. Martin’s Interpretation • Divine love= god/dess for mortal • Human love = god for goddess/ mortal for mortal • Bestial Love = 1/2 animal for anything • ACCEPTED/REJECTED

  13. P A N E L 1 DIVINE LOVE HUMAN LOVE BESTIAL LOVE

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  21. Laocoon

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  26. Zeus & Gannymede

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