Retooling Medievalism for Early Modern Painting in Annibale Carracci’s <i>Pietà with Saints</i> in Parma

• Main Author: Livia Stoenescu
• Format: Article
• Language: English
• Published: MDPI AG 2021-08-01
• Series: Religions
• Subjects: Devotional Art; Reform of Art; Early Modern and Italian Renaissance Art
• Online Access: https://www.mdpi.com/2077-1444/12/8/609

Annibale Carracci (1560–1609) drew on the Italian Renaissance tradition of the Man of Sorrows to advance the Christological message within the altarpiece context of his <i>Pietà with Saints</i> (1585). From its location at the high altar of the Capuchin church of St. Mary Magdalene in Parma, the work commemorates the life of Duke Alessandro Farnese (1586–1592), who is interred right in front of Annibale’s painted image. The narrative development of the <i>Pietà with Saints</i> transformed the late medieval Lamentation altarpiece focused on the dead Christ into a riveting manifestation of the beautiful and sleeping Christ worshipped by saints and angels in a nocturnal landscape. Thus eschewing historical context, the pictorial thrust of Annibale’s interpretation of the Man of Sorrows attached to the <i>Pietà with Saints</i> was to heighten Eucharistic meaning while allowing for sixteenth-century theological and poetic thought of Mary’s body as the tomb of Christ to cast discriminating devotional overtones on the resting place of the deceased Farnese Duke.