Study by Annibale Carracci, italian classicism, baroque - Italian Renaissance, Mannerism, baroque drawing portrait, sanguine drawing Drawing by Alessandro Nesci

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Study by Annibale Carracci, italian classicism, baroque - Italian Renaissance, Mannerism, baroque drawing portrait, sanguine drawing

Alessandro Nesci


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Art Description

Drawing: Graphite, Pencil, sanguine on Paper.

Study by Annibale Carracci, italian classicism, baroque - Italian Renaissance, Mannerism, baroque drawing portrait, sanguine drawing.
I was born, live and work in Rome. To stay in the city I love, I make many sacrifices, every day.
Walking in Rome, it's a immeasurable value.
Those who have visited can tell. Rome makes you fall in love.
The great History, the great Art lived here. You can feel them around you when you are here, in Rome or in Italy. Walking through Rome, you walk through History, Art, Music, in a continuous dialogue with the Masters of the past. Art and Roman History, the Middle Ages, the Renaissance, the Baroque ... They have left us great lessons. It's fascinating fell it, in an intriguing dialogue with them.

This serie of works is inspired by the old masters of the Italian Renaissance: Michelangelo, Raphael, Leonardo da Vinci, Titian, Paolo Uccello, Pollaiolo, Botticelli ... and to all Italian Renaissance.

The Italian Renaissance in painting began anew, in Florence and Tuscany, with the frescoes of Masaccio, then the panel paintings and frescos of Piero della Francesca and Paolo Uccello which began to enhance the realism of their work by using new techniques in perspective, thus representing three dimensions in two-dimensional art more authentically. Piero della Francesca wrote treatises on scientific perspective. The creation of credible space allowed artists to also focus on the accurate representation of the human body and on naturalistic landscapes. Masaccio's figures have a plasticity unknown up to that point in time. Compared to the flatness of Gothic painting, his pictures were revolutionary. Around 1459 San Zeno Altarpiece (Mantegna), it was probably the first good example of Renaissance painting in Northern Italy a model for all Verona's painters, for example Girolamo dai Libri. At the turn of the 16th century, especially in Northern Italy, artists also began to use new techniques in the manipulation of light and darkness, such as the tone contrast evident in many of Titian's portraits and the development of sfumato and chiaroscuro by Leonardo da Vinci and Giorgione. The period also saw the first secular (non-religious) themes.

The period known as the High Renaissance represents the culmination of the goals of the earlier period, namely the accurate representation of figures in space rendered with credible motion and in an appropriately decorous style. The most famous painters from this phase are Leonardo da Vinci, Raphael, and Michelangelo. Their images are among the most widely known works of art in the world. Leonardo's Last Supper, Raphael's The School of Athens and Michelangelo's Sistine Chapel Ceiling are the masterpieces of the period.

High Renaissance painting evolved into Mannerism, especially in Florence. Mannerist artists, who consciously rebelled against the principles of High Renaissance, tend to represent elongated figures in illogical spaces. Modern scholarship has recognized the capacity of Mannerist art to convey strong (often religious) emotion where the High Renaissance failed to do so. Some of the main artists of this period are Pontormo, Bronzino, Rosso Fiorentino, Parmigianino and Raphael's pupil Giulio Romano.

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