Annibale Carracci (1560-1609), Cerchia di - Due ragazzi che ridono






Master in early Renaissance Italian painting with internship at Sotheby’s and 15 years' experience.
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Oil on canvas painting titled Due ragazzi che ridono from the Emilia school in the XVII century, attributed to the circle of Annibale Carracci in Italy, with a period frame; unsigned; good condition; 46×58 cm, framed 57×70 cm; sold with frame.
Description from the seller
Dimensions with frame (complimentary) cm 57x70
Emilian School of the XVII century, circle of Annibale Carracci.
Two youths who laugh, oil on canvas, within an important antique frame, presumably contemporaneous.
An artwork of notable expressive vivacity and sustained painterly quality, characterized by a refined physiognomic rendering, an effective play of gazes, and a well-calibrated chiaroscuro.
The flesh tones, the rendering of the curls, and especially the creased collar are particularly successful, built with confident, luminous brushstrokes that give rhythm and depth to the figure.
The composition possesses strong theatrical presence, narrative immediacy, and a painterly material of great charm.
The strong characterization of the faces recalls the Carraccian tradition of the famous ‘charged heads’, in which exaggerated physiognomy becomes a instrument of extraordinary expressive force.
The language and typology suggest a possible reference to the workshop or circle of Annibale Carracci, an attribution worthy of further investigation.
Dimensions with frame (complimentary) cm 57x70
Emilian School of the XVII century, circle of Annibale Carracci.
Two youths who laugh, oil on canvas, within an important antique frame, presumably contemporaneous.
An artwork of notable expressive vivacity and sustained painterly quality, characterized by a refined physiognomic rendering, an effective play of gazes, and a well-calibrated chiaroscuro.
The flesh tones, the rendering of the curls, and especially the creased collar are particularly successful, built with confident, luminous brushstrokes that give rhythm and depth to the figure.
The composition possesses strong theatrical presence, narrative immediacy, and a painterly material of great charm.
The strong characterization of the faces recalls the Carraccian tradition of the famous ‘charged heads’, in which exaggerated physiognomy becomes a instrument of extraordinary expressive force.
The language and typology suggest a possible reference to the workshop or circle of Annibale Carracci, an attribution worthy of further investigation.
