against representing spatial depth in colour and light, and introduce tenebrous dramatic realism into their art instead. But it would be inappropriate to view Annibale Carracci as solely the continuation of an inherited tradition; in his day, his vigorous and dynamic style, and that of his studio assistants, changed the pre-eminent style of painting in Rome. His work would have been seen as liberating for artists of his day, touching on pagan themes with an unconstrained joy. It could be said that while Mannerism had mastered the art of formal strained contraposto and contorsion; Annibale Carracci had depicted dance and joy. Later followers of Neoclassic formalism and severity frowned on the excesses of Annibale Carracci, but in his day, he would have been seen as masterful in achieving the supreme approximation to classic beauty in the tradition of Raphael and Giulio Romano's secular frescoes in the Loggia of the Villa Farnesina. Unlike Raphael, though, his figures can display a Michelangelo-esque muscularity, and depart from the often emotionless visages of High Renaissance painting. References Further reading Cajano, Elvira, and Settimi, Emanuela (eds.) (trans. John Adamson and Victoria Constable) (2015), The Carracci Gallery: Its History and Restoration. Dijon: Éditions Faton . External links A paraphrased copy decorates the ceiling of the Blue Drawing Room at West Wycombe Park in England. 1608 paintings Mythological paintings by Annibale Carracci Fresco paintings in Rome Paintings of Venus Pan (god) in art Paintings of Cupid Paintings of Apollo Paintings of Roman goddesses Paintings of Roman gods Paintings of Jupiter (mythology) Callisto (mythology) Paintings depicting Diana (mythology)