The huge ceiling of Palazzo Farnese displays the theme “The Loves of the Gods” and was done in the seventeenth century, and the beautiful masterpiece was to influence generations of young painters. Annibale Carracci renovated the reception room into a collection of framed paintings that depict different scenes and foil the ceiling and the room with color and movement. Carracci gallery ceiling at the Palazzo Farnese is looked upon as one of the most important Renaissance commissions in Rome (Carracci Gallery at the Palazzo Farnese 2016). ” Loves of the Gods” is a pictorial exhibition of love in Greek mythology and Carracci employs a new style of painting that makes the fresco looks like oil. There are an enormous number of framed paintings on the ceiling that look as if done in oil medium but are actually fresco. "Triumph of Bacchus" is the most famous fresco is in the center and is a mix of Raphael and Titian styles (Loves of the Gods 2016). There are mainly rectangular frames framing the ceiling frescoes with an even light but it seems as the light is falling on the figures from below. There are an elaborate ornamentation and theatricality in those frescoes dealing with religious representation. The piece carries the Baroque qualities while retaining some characteristics of Renaissance in the various scenes. There are different scenes of classical mythology showing earthly and divine love. There are bright colors used to create the frescoes, and the artwork shows realism in the figures, but there is more of drama in those postures and figures. Still, the artists have used natural skin tones and show a use of smooth brush strokes. The bodies of men are, and women are partially clothed, and while men are shown to big and muscular, women carry soft and supple bodies. The skies are done in an unusual shade of blue, and the green of the ground looks unnatural. The draperies of the garments carry effects of light and shadows and the folds. The magnificent artwork shows a high level of artistic skills, and clearly, the artist had complete control over their drawing and use of brush strokes. In Renaissance Italy, Erotic art became acceptable and exclusive because of the use of classical mythological figures, and this had an elevating effect on the erotic art (Eubanks 4). The frescoes are visually expressive and impressive, and each work is surrounded by a frame that looks highly ornamented, and some of them carry golden borders. The highly decorative elements in the narrative panels ignite the genius of the Farnese Gallery. The graceful nude figures have been painted to look like ancient marble and use of flesh-colored putti and masks added naturalism (Eubanks 90). There are animals and plenty of angels that can be seen in those frescoes. However, the animals in the artwork are awkward and disproportionate. However, the depictions of goats are natural, and this points to his familiarity with livestock and unfamiliarity with the wild. There are exceptional and unusual proportions and symmetry in the human bodies.
The decorative and sensual artworks set within painted frames revive the classical style and represent a spatial depth in color and light. The dramatic realism and the dynamic style come across to the viewers as an unconstrained joy. It requires a genius and inventive style, to create visual relationships among the figures and images. One takes some time to explore the leisurely romances between gods and goddesses and even homosexual encounters. The lusty encounters of gods with mortals and half-beasts are quite erotic and quite explicit to make one feel embarrassed. Carracci’s attention to detail depicts provocative images, and one can feel the eye contact between those figures and read a lot from their facial expressions. The sweeping and loose brushwork along with the amorous moods set across imagined landscapes create a masterful representation.
Works Cited
"Carracci Gallery at the Palazzo Farnese." wmf.org. 2016. Web. 1 May. 2016.
Eubanks, Waverley W. "The Lascivie: Agostino Carracci’s Erotic Prints as the Sources for the Farnese Gallery Vault." he University of Georgia 1.1 (2004): 1-193. Print
"Loves of the Gods." artontap. 2016. Web. 1 May. 2016.
