All CARRACCI, Agostino Oil Paintings

Italian Baroque Era Painter, 1557-1602 Painter, engraver and draughtsman, cousin of Ludovico Carracci. He abandoned his profession as a tailor, which was also that of his father, Antonio, and began training as a painter. According to Faberi, he studied first in the workshop of the painter Prospero Fontana (like Ludovico), then trained under the engraver and architect Domenico Tibaldi and under the sculptor Alessandro Menganti (1531-c. 1594). However, it is likely that Faberi's account was influenced by his desire to present Agostino's career as an example of the versatile 'cursus studiorum' advocated by the Accademia degli Incamminati. Other sources (Mancini, Malvasia, Bellori) agree that it was his cousin Ludovico who was responsible for directing him towards painting.
 
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CARRACCI, Agostino Head of a Faun in a Concave (roundel) dsf oil on canvas


Head of a Faun in a Concave (roundel) dsf
Head of a Faun in a Concave (roundel) dsf
Painting ID::  5922 		  c. 1595 Pen and brown ink on laid paper, 181 x 187 mm National Gallery of Art, Washington
  c. 1595 Pen and brown ink on laid paper, 181 x 187 mm National Gallery of Art, Washington

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CARRACCI, Agostino Landscape with Bathers oil on canvas


Landscape with Bathers
Landscape with Bathers
Painting ID::  28907 		  mk65 Tempera on canvas 15 5/8x19 1/8in Pitti,Palatine Gallery
  mk65 Tempera on canvas 15 5/8x19 1/8in Pitti,Palatine Gallery

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     CARRACCI, Agostino
     Italian Baroque Era Painter, 1557-1602 Painter, engraver and draughtsman, cousin of Ludovico Carracci. He abandoned his profession as a tailor, which was also that of his father, Antonio, and began training as a painter. According to Faberi, he studied first in the workshop of the painter Prospero Fontana (like Ludovico), then trained under the engraver and architect Domenico Tibaldi and under the sculptor Alessandro Menganti (1531-c. 1594). However, it is likely that Faberi's account was influenced by his desire to present Agostino's career as an example of the versatile 'cursus studiorum' advocated by the Accademia degli Incamminati. Other sources (Mancini, Malvasia, Bellori) agree that it was his cousin Ludovico who was responsible for directing him towards painting.

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