Aeneas and His Family Fleeing Troy - Agostino Carracci
Archival giclée
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Description
A detailed engraving by Agostino Carracci depicting Aeneas carrying his father from the burning ruins of Troy.
This engraving by Agostino Carracci depicts the classical narrative of Aeneas escaping the burning city of Troy. The composition focuses on the central figure of Aeneas, who carries his elderly father, Anchises, upon his shoulders. Beside them, his young son Ascanius walks, while his wife Creusa follows, her posture conveying distress. The background provides a view of the architectural destruction of the city, with flames rising behind classical columns and domes.
Carracci employs a sophisticated use of line to define the musculature of the figures and the textures of their garments. The engraving demonstrates the technical precision associated with the Carracci family, who were influential figures in the development of the Bolognese school. The scene is framed by architectural elements that create a sense of depth, drawing the viewer into the chaotic environment of the mythic event. The contrast between the light and shadow across the figures and the rubble on the ground adds to the dramatic quality of the work.
As a master of the print medium, Agostino Carracci used this engraving to translate the narrative weight of Virgil's Aeneid into a visual format. The work reflects the interest in classical antiquity that defined much of the artistic production in Italy during the late sixteenth century. The inclusion of Latin inscriptions at the base of the print provides further context for the scene, identifying the figures and the thematic focus on filial piety. This print remains a clear example of the technical skill involved in reproductive engraving during the period, capturing both the emotional intensity of the subject and the structural rigour of the composition.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Aeneas and His Family Fleeing Troy - Agostino Carracci
Artist Biography
Agostino Carracci
His masterpiece as a painter, The Last Communion of Saint Jerome (1592), hangs in the Pinacoteca Nazionale di Bologna. The composition is controlled and deeply felt, with the dying saint receiving the sacrament in a soft, Correggesque light that reveals Agostino's careful study of the Parma master. He also contributed to major fresco cycles at Palazzo Fava (1584, Lives of Jason and Medea) and Palazzo Magnani (1590-92, Scenes from the Foundation of Rome), working alongside Annibale on both.
The engraving work that critics sometimes dismissed as mere reproduction turns out to have had an unexpectedly long legacy. His print after Paolo Fiammingo's Love in the Golden Age is recorded as a direct source for Matisse's Le bonheur de vivre (1905-06), connecting a Bologna workshop of the 1580s to Fauvist Paris three centuries later. Agostino died in Parma in March 1602, at forty-four, leaving a son, Antonio, who also became a painter.
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