Follower of Annibale Carraci

Follower of ANNIBALE CARRACCI (Bologna, 1560 - Rome, 1609), 18th century.
"Young people smiling".
Oil on canvas. Relined.
Measurements: 44 x 55 cm.
It is remarkable the presence of a double portrait in this work, since it was not a common theme at the time. In the painting the artist arranges the two knights in a square format with a neutral and dark background, which gives great prominence to the figure of the protagonists, thus avoiding any anecdotal element that is not part of the main figures. Each one of the characters is arranged in the lateral areas of the composition, to a certain extent taking the center of the scene, since there is not a great distance between them. One of the young men looks directly at the viewer, while the other looks at his companion, also smiling. These mischievous attitudes, added to the clothes that can be seen, indicate that these are boys who belong to a lower class, thus being a portrait with a certain costumbrista air, very fashionable at the time. In fact, it is interesting to relate this work to the painting called The Butcher's Shop, painted by Annibale Carraci, between 1580-1590, which today belongs to the collection of the Colonna Gallery in Rome. Carraci's connection with Vicenzo Campi and the painter Passaroti resulted in the artist's great influence and interest in capturing this type of genre subject matter. A subject matter in which the artist employed a rougher style in relation to his more classicist works. Harmonizing thus between aesthetics and the theme to which it was dedicated.
At the beginning of the 17th century, at the same time that Caravaggio was breaking away from Mannerist and even Renaissance conventions, a new way of understanding painting, usually called "eclecticism", was emerging in Bologna under the guidance of Carracci. It sought to integrate the best of each master, especially Michelangelo, Raphael, Titian, Veronese and Correggio. However, Annibale Carracci's personality led him to evolve towards a very personal classicism, which did not disdain certain Caravaggiesque achievements.