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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CARRACCI, Agostino Head of a Faun in a Concave (roundel) dsf oil painting


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


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