The portrait drawings of Annibale Carracci: Representations of masculinity and homosociality in early modern Bologna

The focus of this thesis will be to analyze the creation, function, and meaning of six portrait drawings made by the Bolognese artist Annibale Carracci (1560-1609). These six drawings are generally dated by art historians to Annibale's Bolognese period, when he was directly involved with the philosophy and practice of the Carracci Academy, prior to his move to Rome. The Carracci Academy, founded around 1580 by the brothers Annibale and Agostino along with their elder cousin Ludovico, was based on the fundamental importance and attentive study of nature. The three Carracci were devoted to life studies and encouraged this concept in their philosophy and practice. Sheets of drawings with various figure studies attest to their devotion to nature and diligent study of the human body.;It is not the purpose of this study to assign new attributions or dates to Annibale's oeuvre. There are disagreements in drawing scholarship regarding authorship; the works presented in this thesis are some of the least controversial drawings. These six drawings were selected for their pertinence to this thesis: they all depict young boys or adolescent males; they are psychologically gripping; and they exemplify the high finish and technological skill that characterizes Annibale's life studies. In addition, all six drawings date to Annibale's Bolognese period, are in good condition, and are in relatively accessible collections.;The production of drawings as a preparatory procedure relating to a painting, or the creation of a presentation drawing to be shown to a patron, was a common practice by many artists in early modern Italy. Annibale's portrait drawings, however, are intriguing in that they do not often directly correspond to a painting and that they primarily represent the heads of men, adolescent male youths, and boys. Malvasia states that the three Carracci studied and drew both males and females from life, but most of Annibale's portrait drawings are of males.;Early modern Italy is characterized by patriarchal gender and societal constructs; thus, it is not shocking that Annibale chose men as the primary subject matter in his portraiture studies. These portrait drawings are exercises in the portrayal of masculine physiognomy with great emotion and naturalism; however, in consideration of the high quality and finish of these six portrait drawings, the rising status of drawings as collectible works of art, and the patriarchal society of early modern Italy, these drawings achieve greater symbolic significance as visual representations of their cultural ideology.;The precise and delicate attention to detail and emotional power exhibited in Annibale's portrait drawings of young boys and adolescent males emphasize the cultural fascination with male adolescence and homosocial, emotive relationships between men, dominant in early modern Italian society. It is not suggested in this thesis that Annibale committed what present day audiences would perceive as homosexual acts with his students and adolescents, but rather I am suggesting that these portrait drawings are not solely studies in naturalism and human physiognomy, but that they also portray the dominance, presence, and power of homosocial relationships in the early modern period. The unified practice within the Carracci Academy, itself a type of fraternal community, Annibale's dedication to teaching, and his relationships with his students further evidences homosocial constructs and the powerful role they played in the foundation of early modern gender ideologies. In this context, these portrait drawings can be seen as representations of masculinity and homosociality in the early modern period.