# Carlo Maratti artist context and auction value notes

Canonical page: https://appraisily.com/artist/carlo-maratti/
Profile generated: 2026-08-19T20:10:01.763Z
Quality: high confidence, strong sources

## Artist identity

- Birth date: 1625-05-15
- Death date: 1713-12-15
- Nationality: Italian
- Movements: Roman Baroque, Classical Grand Manner, Classicizing Italian Late Baroque
- Common media: Paintings on canvas, Frescoes, Drawings, Engravings, etchings, and printed interpretations of his designs

## Portrait

![Carlo Maratti](https://upload.wikimedia.org/wikipedia/commons/9/95/Carlo_Maratta_-_Self-portrait_in_Uffizi_Gallery.jpg)
Carlo Maratta · Public domain
Source: https://commons.wikimedia.org/wiki/File:Carlo_Maratta_-_Self-portrait_in_Uffizi_Gallery.jpg

## About Carlo Maratti

Carlo Maratti, also widely recorded as Carlo Maratta, was an Italian painter and draughtsman whose career centered on Rome. A pupil of Andrea Sacchi, he became a defining figure in the city's later seventeenth-century art, combining the compositional discipline of the classical Grand Manner with the scale and persuasive force of the Baroque. His practice ranged from church altarpieces and frescoes to portraits and devotional images, particularly Madonna and Child compositions. Maratti gained an international reputation and directed a large workshop. His designs also circulated through engravings and other prints. Collectors consequently encounter his name across autograph paintings and drawings, workshop material, later copies, and printed interpretations. That broad artistic afterlife makes catalogue terminology especially important: a work securely attributed to Maratti is distinct from one described as workshop of, circle of, follower of, or after the artist.

## Common works and media

Works encountered in collection and appraisal settings include oil paintings, fresco-related studies, drawings, portraits, altarpiece compositions, and devotional subjects such as the Madonna and Child. Prints may reproduce paintings or drawings associated with Maratti and can name both the designer and the engraver. Because his studio was large and his compositions were repeatedly copied, catalogues may also present works as workshop of, circle of, follower of, or after Maratti. Those qualifiers should be preserved when identifying and comparing an object.

## Market and appraisal context

Carlo Maratti's public auction market includes paintings, drawings, and prints, but objects bearing his name do not all carry the same level of authorship. Attribution is therefore central to comparison. Relevant factors include medium, dimensions, date, subject, condition, restoration, provenance, inscriptions, exhibition history, and references in scholarly catalogues. For prints, the identity of the engraver, state, impression quality, margins, and whether the composition was made after a Maratti design may also matter. Comparable sales should use closely related objects and equivalent attribution language. Public results can establish context, but they do not replace physical examination, provenance research, or specialist judgment.

## Appraisily data basis

Appraisily artist pages combine researched identity data with matched public auction records, auction-house context, sale dates, realized prices, and comparable lots when available. Record coverage, attribution language, fees, and later scholarly revisions can affect interpretation.

## Sources

- Art UK: https://artuk.org/discover/artists/maratta-carlo-16251713
- Deutsche Nationalbibliothek: https://d-nb.info/gnd/119414651
- Wikidata: https://www.wikidata.org/wiki/Q538998
- IdRef: https://www.idref.fr/035053038
- Appraisily: https://appraisily.com/artist/carlo-maratti/
- Wikipedia: https://en.wikipedia.org/wiki/Carlo_Maratta
- Getty Vocabulary Program: https://vocab.getty.edu/page/ulan/500118927