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The Bean Eater

Annibale Carracci

The Bean Eater

Annibale Carracci
  • Date: 1585
  • Style: Baroque
  • Genre: genre painting
  • Media: oil, canvas
  • Dimensions: 57 x 68 cm
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The Beaneater, a naturalistic genre painting by Carracci, depicts an everyday scene of Italian life. The artwork portrays a man eating a simple meal of beans, onions, bread, and wine. To convey a rustic feel, Carracci employed broken brushwork, deviating from the flat, polished finish preferred by fine artists during the late 16th century.

Carracci skillfully combined portraiture and still life in the composition, showcasing his ability to unite different elements in a single painting. This candid approach was unique during a time when monumental depictions of biblical figures and posed portraits of the wealthy dominated painting. The lack of composure and level perspective creates a similar effect to a photograph taken from across a table. The beaneater is captured in a spontaneous moment, with blushed cheeks and an open mouth indicating his direct engagement. Although the portrayal may seem unflattering, the level perspective places the viewer on the same social level as the subject, showcasing Carracci's sympathy for the simple daily routines of the working class. This humanistic strategy was innovative during the 16th century, where wealthy commissions dominated portraiture.

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The Bean eater (Italian: Mangiafagioli) is a painting by the Italian Baroque painter Annibale Carracci. Dating from 1580-1590 (probably 1583-1585), it is housed in the gallery of Palazzo Colonna of Rome.

The painting is connected to the contemporary Butcher's Shop (now at Oxford), for it shares the same popularesque style. Painted in Bologna, it is a broadly and realistically painted still life, which owes much to Flanders and Holland.

Carracci was also influenced in the depiction of everyday life subjects by Vincenzo Campi and Bartolomeo Passarotti. Manifest is Carracci's capability to adapt his style, making it "lower" when concerning "lower" subjects like the Mangiafagioli, while in his more academic works (such as the broadly contemporary Assumption of the Virgin) he was able to use a more classicist composure with the same ease.

This is a part of the Wikipedia article used under the Creative Commons Attribution-Sharealike 3.0 Unported License (CC-BY-SA). The full text of the article is here →


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