Goin' to the chapel with Annibale Carracci : landscape paintings in the Galleria Doria Pamphili
department or school: Arts, Faculty of
department or school: Art History, Visual Art and Theory, Department of
data provider: DSpace
degree campus: UBCV
creator: Pourghanad, Samira
issued: 2024-08-29T16:49:57Z
issued: 2024
related degree: Master of Arts - MA
degree grantor: University of British Columbia
description: This thesis examines the landscape paintings produced by Italian artist Annibale Carracci in the early 1600s for Cardinal Pietro Aldobrandini’s private chapel in Rome, the Palazzo al Corso (now, the Palazzo Doria Pamphili). Cardinal Pietro commissioned Annibale to complete a series of paintings depicting the life of the Virgin Mary for the lunette compartments in his chapel. Through application of the various ecocritical perspectives that acknowledge the intrinsic value of nature, I argue that these paintings give primacy to the landscape elements in biblical narratives, thus decentring humans from their perceived positions of importance. In doing so, Annibale’s paintings for the Aldobrandini Chapel both challenge the standards of chapel art and invert the long-standing expectations of human beings. I will analyze Annibale’s subversion of chapel conventions by way of a comparison to another artist who challenged chapel art during the same period in Rome: Michelangelo Merisi da Caravaggio. Specifically, I will discuss the paintings produced by Caravaggio for the Contarelli Chapel, a public chapel in the Church of San Luigi dei Francesi. In drawing a comparison between Annibale’s Aldobrandini lunettes and Caravaggio’s paintings produced for the Contarelli Chapel, I will suggest that each artist engages with biblical narratives through opposing viewpoints: Annibale’s is ecocentric, while Caravaggio’s is highly anthropocentric. Thus, I posit that in certain respects, Annibale’s lunettes may be viewed as the antithesis to Caravaggio’s Contarelli paintings. My study approaches these paintings through a formalistic investigation, that is, I will pay close attention to the colour, content, and other compositional elements in the works. At the same time, I will consider the biographical and historical context in which these paintings were produced. In other words, while I am speculating regarding the ecocritical content in Annibale’s paintings, I remain observant of the conc…
aggregated CHO: https://circle.library.ubc.ca/rest/handle/2429/89087
note: GOIN’ TO THE CHAPEL WITH ANNIBALE CARRACCI: LANDSCAPE PAINTINGS IN THE GALLERIA DORIA PAMPHILI by Samira Pourghanad J.D., The University of Manitoba, 2014 B.A., The University of British Columbia, 2010 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Art History and Theory) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2024 © Samira Pourghanad, 2024 ii The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, a thesis entitled: Goin’ to the Chapel with Annibale Carracci: Landscape Paintings in the Galleria Doria Pamphili submitted by Samira Pourghanad in partial fulfilment of the requirements for the degree of Master of Arts in Art History and Theory Examining Committee: Dr. Joseph Monteyne, Professor & Department Head, Dept. of Art History, Visual Art & Theory, UBC Supervisor Dr. Saygin Salgirli, Associate Professor, Dept. of Art History, Visual Art & Theory, UBC Supervisory Committee Member iii Abstract This thesis examines the landscape paintings produced by Italian artist Annibale Carracci in the early 1600s for Cardinal Pietro Aldobrandini’s private chapel in Rome, the Palazzo al Corso (now, the Palazzo Doria Pamphili). Cardinal Pietro commissioned Annibale to complete a series of paintings depicting the life of the Virgin Mary for the lunette compartments in his chapel. Through application of the various ecocritical perspectives that acknowledge the intrinsic value of nature, I argue that these paintings give primacy to the landscape elements in biblical narratives, thus decentring humans from their perceived positions of importance. In doing so, Annibale’s paintings for the Aldobrandini Chapel both challenge the standards of chapel art and invert the long-standing expectations of human beings. I will analyze Annibale’s subversion of chapel conventions by way of a comparison to…
has type: Thesis/Dissertation
date issued: 2024-11
is shown at: 10.14288/1.0445217
language: eng
degree discipline: Art History & Theory
provider: Vancouver : University of British Columbia Library
publisher: University of British Columbia
rights: Attribution-NonCommercial-NoDerivatives 4.0 International
rights URI: http://creativecommons.org/licenses/by-nc-nd/4.0/
scholar level: Graduate
contributor: Monteyne, Joseph
type: Text
identifier URI: http://hdl.handle.net/2429/89087