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Worse, there wasn't the protein in France to feed his imagination. It only existed in Rome: the presence of the recent masters from whom he learned so ! much, like Caravaggio and Annibale Carracci, and the dead ones to whom he owed even more, like Titian and Raphael; the enlightened patronage of such connoisseurs as Cassiano del Pozzo or Cardinal Barberini, for whom he painted his supreme utterance about Roman political virtue, The Death of Germanicus, 1628. Above all, there were the traces of ancient Rome, a buried organism whose disarrayed bones protruded everywhere: columns, capitals, broken herms, arches, battle...

Author: /time Magazine | Title: ART: Decorum and Fury | 12/5/1994 | See Source »

Other contemporaries, such as Guido Reni and Annibale Carracci, affected him deeply as well; he had worked on their turf, in Parma, before coming to Rome. It was, however, Caravaggio, the tragic realist, with his dramatically articulate figures sculpted by darkness, his appetite for common life and his candor about the apprehensible world, who had blown away the mincing academism of late mannerist art and shown the way forward to a whole generation of younger European painters, of whom Ribera was the most gifted...

Author: /time Magazine | Title: Art: Baroque Futurist | 10/12/1992 | See Source »

...time to develop the repertoire of figures that would fill his work in years to come. Rome was not just a boneyard of suggestive antiques; it was full of living art whose plasticity, color and narrative richness surpassed anything he could see in France -- Caravaggio, Pietro da Cortona, the Carracci. But Pozzo's main gift to Poussin was the intellectual background that enabled a melancholy, impetuous young Frenchman to become the chief peintre-philosophe...

Author: /time Magazine | Title: Art: A Classicist Who Burned with Inner Fire | 10/24/1988 | See Source »

...Other exhibitions have focused on how the artist influenced 17th century painting all over Europe. This one shows the painting that influenced him when he was growing up--and the visual pedantry he had to contend with. Except for Lotto, Tintoretto and Bassano, and some beautiful works by Annibale Carracci, Adam Elsheimer and Guido Reni, most of this is deadwood and of interest mainly to specialists. Moreover, the climactic efforts of Caravaggio's career, like the Beheading of St. John the Baptist in Malta (which must be the most sublimely concrete work of the tragic imagination painted between the death...

Author: /time Magazine | Title: Art: Master of the Gesture | 3/11/1985 | See Source »

...test went on to two heads, one by the 16th century Italian painter Annibale Carracci and one an excellent copy by a contemporary. But the most fiendish items were three drawings of a Mother and Child, all apparently Picassos...

Author: /time Magazine | Title: Art: Foggy Final | 1/26/1962 | See Source »

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