Attributed to Annibale Carracci - Untitled

Son of Antonio, a tailor from Cremona, who moved to Bologna with his brother Vincenzo, a butcher by profession and father of Ludovico Caracci.

Nothing is known about Annibale Carracci's early training, although, alternatively to the widespread belief that he was a pupil of his cousin Ludovico, it is possible that it took place outside the family circle. Indeed, the beginning of his collaboration with Ludovico (and Agostino) dates back to the early 1580s, when Annibale was already in his twenties and received (in 1583) a significant public commission, unlikely for a relatively novice. It therefore seems conceivable that—before setting up shop with his cousin and brother—the younger Carracci may have completed his first apprenticeship with other masters, but this hypothesis, to date, is unsupported by any documentation.

Annibale Carracci's first known work is an altarpiece depicting the Crucifixion and Saints painted for the Bolognese church of San Nicolò (now in the church of Santa Maria della Carità), and dates back to 1583. It is not his first work ever and was the subject of strong criticism from the Bolognese artistic community for the realism and simplicity with which Annibale depicted the Passion of Christ.

Annibale Carracci, The Great Butcher's Shop, ca. 1585, Oxford, Christ Church Picture Gallery

Modern historiography, however, already observes in this first public work the young painter's rejection of the conventions of late Mannerism and a first attempt to return to truth.

Annibale's early work includes several genre paintings, such as the Large Butcher's Shop, now in the Christ Church Picture Gallery. The theme is not, in itself, new: works with similar subjects are present in both Flemish school paintings (such as those of Joachim Beuckelaer) and Italian school paintings, such as those of Bartolomeo Passerotti (Bolognese, like Annibale).

The novelty of Annibale's Large Butcher's Shop, however, lies in its sober depiction of the work of a workshop. Unlike many contemporary Flemish and Italian works on similar subjects, Annibale did not paint the figures with grotesque features or in trivial poses. He preferred to portray the dignity of the butcher's workers, demonstrating, among other things, a particular interest in natural elements.

Another genre painting probably also belongs to this period: the famous Mangiafagioli (Rome, Palazzo Colonna) which perhaps depicts Zanni, a well-known mask from the Commedia dell'arte.

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