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| Carlo Maratti Portrait of a Young Man 1663 oil on canvas Gemäldegalerie, Berlin |
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| Carlo Maratti Portrait of Francesca Gommi Maratti ca. 1690 oil on canvas Cleveland Museum of Art, Ohio |
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| Carlo Maratti St James the Greater ca. 1661 oil on canvas Temple Newsam House, Leeds |
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| Carlo Maratti Marchese Niccolò Maria Pallavicini guided to the Temple of Virtù by Apollo (with self-portrait of the artist) 1705 oil on canvas National Trust, Stourhead, Wiltshire |
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| Carlo Maratti Finding of Romulus and Remus ca. 1680-82 oil on canvas Sanssouci Palace, Potsdam |
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| Carlo Maratti (figures) and Mario Nuzzi (flowers) Allegory of Summer ca. 1660 oil on canvas Palazzo Chigi di Ariccia |
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| Carlo Maratti (figures) and Mario Nuzzi (flowers) Allegory of Summer (detail) ca. 1660 oil on canvas Palazzo Chigi di Ariccia |
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| Carlo Maratti (figure) and Karel van Vogelaer (flowers) Flora before 1695 oil on canvas private collection |
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| attributed to Carlo Maratti Portrait of a Youth ca. 1700 oil on canvas National Trust, Attingham Park, Shropshire |
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| attributed to Carlo Maratti Judith and Holofernes ca. 1675 oil on canvas Pinacoteca Capitolina, Rome |
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| Carlo Maratti Alpheus and Arethusa ca. 1650-60 oil on canvas private collection |
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| Carlo Maratti The Flagellation ca. 1655-57 oil on canvas Museum of Fine Arts, Boston |
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| Carlo Maratti Portrait of Cardinal Alderano Cibo ca. 1660 oil on canvas Musée des Beaux-Arts de Marseille |
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| Carlo Maratti The Holy Family ca. 1700-1705 oil on canvas Toledo Museum of Art, Ohio |
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| Carlo Maratti Portrait of landscape architect André le Nôtre ca. 1679-81 oil on canvas Château de Versailles |
Carlo Maratta or Maratti (1625-1713) - Roman painter born in the Marche; the chief pupil of Andrea Sacchi, whose studio he joined at the age of 12 and remained connected with until Sacchi's death in 1661. An artist of great distinction if not striking originality, he forged an individual style reconciling his master's classicism (with its strong debt to Raphael) with certain Baroque tendencies. The resultant Grand Manner, sometimes dramatic, always clear and dignified, had by 1700 replaced the Baroque style of Pietro da Cortona and Bernini. By 1680 Maratta had acquired international fame as the greatest painter of his age. His reputation has been devalued since, however, largely because later generations judge him through studio works and the innumerable copies and replicas of his many small Madonna and Child pictures.
– excerpted from the Yale Dictionary of Art and Artists, Erika Langmuir and Norbert Lynton (2000)