Correggio

Italian 1489-1534 Correggio Locations Italian painter and draughtsman. Apart from his Venetian contemporaries, he was the most important northern Italian painter of the first half of the 16th century. His best-known works are the illusionistic frescoes in the domes of S Giovanni Evangelista and the cathedral in Parma, where he worked from 1520 to 1530. The combination of technical virtuosity and dramatic excitement in these works ensured their importance for later generations of artists. His altarpieces of the same period are equally original and ally intimacy of feeling with an ecstatic quality that seems to anticipate the Baroque. In his paintings of mythological subjects, especially those executed after his return to Correggio around 1530, he created images whose sensuality and abandon have been seen as foreshadowing the Rococo. Vasari wrote that Correggio was timid and virtuous, that family responsibilities made him miserly and that he died from a fever after walking in the sun. He left no letters and, apart from Vasari account, nothing is known of his character or personality beyond what can be deduced from his works. The story that he owned a manuscript of Bonaventura Berlinghieri Geographia, as well as his use of a latinized form of Allegri (Laetus), and his naming of his son after the humanist Pomponius Laetus, all suggest that he was an educated man by the standards of painters in this period. The intelligence of his paintings supports this claim. Relatively unknown in his lifetime, Correggio was to have an enormous posthumous reputation. He was revered by Federico Barocci and the Carracci, and throughout the 17th and 18th centuries his reputation rivalled that of Raphael.

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Correggio Martyrdom of Four Saints oil painting


Martyrdom of Four Saints
Painting ID::  521
Artist: Correggio
Painting: Martyrdom of Four Saints
Introduction: Galleria Nazionale, Parma
   
   
     

Correggio Deposition oil painting


Deposition
Painting ID::  522
Artist: Correggio
Painting: Deposition
Introduction: Galleria Nazionale, Parma
   
   
     

Correggio Coronation of the Virgin oil painting


Coronation of the Virgin
Painting ID::  524
Artist: Correggio
Painting: Coronation of the Virgin
Introduction: Galleria Nazionale, Parma
   
   
     

Correggio The Adoration of the Magi fg oil painting


The Adoration of the Magi fg
Painting ID::  6169
Artist: Correggio
Painting: The Adoration of the Magi fg
Introduction: 1516-18 Oil on canvas, 84 x 108 cm Pinacoteca di Brera, Milan
   
   
     

Correggio The Mystic Marriage of St Catherine oil painting


The Mystic Marriage of St Catherine
Painting ID::  9843
Artist: Correggio
Painting: The Mystic Marriage of St Catherine
Introduction: c. 1520 Wood, 105 x 102 cm Mus??e du Louvre, Paris
   
   
     

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     Italian 1489-1534 Correggio Locations Italian painter and draughtsman. Apart from his Venetian contemporaries, he was the most important northern Italian painter of the first half of the 16th century. His best-known works are the illusionistic frescoes in the domes of S Giovanni Evangelista and the cathedral in Parma, where he worked from 1520 to 1530. The combination of technical virtuosity and dramatic excitement in these works ensured their importance for later generations of artists. His altarpieces of the same period are equally original and ally intimacy of feeling with an ecstatic quality that seems to anticipate the Baroque. In his paintings of mythological subjects, especially those executed after his return to Correggio around 1530, he created images whose sensuality and abandon have been seen as foreshadowing the Rococo. Vasari wrote that Correggio was timid and virtuous, that family responsibilities made him miserly and that he died from a fever after walking in the sun. He left no letters and, apart from Vasari account, nothing is known of his character or personality beyond what can be deduced from his works. The story that he owned a manuscript of Bonaventura Berlinghieri Geographia, as well as his use of a latinized form of Allegri (Laetus), and his naming of his son after the humanist Pomponius Laetus, all suggest that he was an educated man by the standards of painters in this period. The intelligence of his paintings supports this claim. Relatively unknown in his lifetime, Correggio was to have an enormous posthumous reputation. He was revered by Federico Barocci and the Carracci, and throughout the 17th and 18th centuries his reputation rivalled that of Raphael.