How to Cite

Peterlini, Giuseppe: “Scherzi di donne ignude”: Agostino Carraccis ‚Nymphe, kleiner Satyr und Kind‘ als invektive Bildparodie im künstlerischen Wettstreit mit den michelangiolisti, in Israel, Uwe, Kraus, Marius and Sasso, Ludovica (Eds.): Agonale Invektivität: Konstellationen und Dynamiken der Herabsetzung im italienischen und deutschen Humanismus, Heidelberg: Heidelberg University Publishing, 2021 (Das Mittelalter. Perspektiven mediävistischer Forschung. Beihefte, Volume 17), p. 107–141. https://doi.org/10.17885/heiup.862.c11480

Identifiers (Book)

ISBN 978-3-96822-088-8 (PDF)
ISBN 978-3-96822-087-1 (Hardcover)

Published

09/16/2021

Authors

Giuseppe Peterlini

“Scherzi di donne ignude”

Agostino Carraccis ‚Nymphe, kleiner Satyr und Kind‘ als invektive Bildparodie im künstlerischen Wettstreit mit den michelangiolisti

Abstract In the literature and visual arts of the early mod­ern period, lasciviousness, humanism, invective and social, political as well as artistic criticism coexist. It is therefore not surprising that Agostino Carracci creates a mocking pictorial parody against the admirers of Michelangelo Buonarroti in his pornographic copperplate engraving ‘Nymph, Little Satyr and Child’. In this way, Agostino en­ters into artistic competition with the michelangiolisti to dismissively disparage the basic norms of their art as well as the art theory of Giorgio Vasari. The Bolognese used image parody as an invective communication strategy to create consensus, to form and exclude groups, and to ex­pose and discredit opponents. The copperplate engraving is therefore associated with Agostino’s prominent posi­tioning within the Italian art scene at the historical mo­ment when the Carracci’s imposed their painting reform in an open, sharp conflict with the principles and representa­tives of Mannerism.