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 Allegory of the Virtues (mk05) oil painting


Allegory of the Virtues (mk05)
Painting ID::  20091
Artist: Correggio
Painting: Allegory of the Virtues (mk05)
Introduction: 1529-1530 Tempera on canvas,58 1/4 x 34 1/2''(148 x 88 cm).Cabinet des Dessins;entered the Louvre in 1662
   
   
     

Correggio Allegory of the Vices (mk05) oil painting


Allegory of the Vices (mk05)
Painting ID::  20092
Artist: Correggio
Painting: Allegory of the Vices (mk05)
Introduction: Tempera on canvas,58 1/4 x 34 1/2''(148 x 88 cm).Cabinet des Dessins;entered the Louvre in 1661
   
   
     

Correggio Venus,Satyr and Cupid (mk05) oil painting


Venus,Satyr and Cupid (mk05)
Painting ID::  20166
Artist: Correggio
Painting: Venus,Satyr and Cupid (mk05)
Introduction: Canvas 74 x 49 1/4\'\'(188 x 125 cm)Painted for Federico Gonzaga;collections of Charles I,Cardinal Mazarin,and Louis XIV;entered the Louvre in 1661
   
   
     

Correggio Portrait of a Youn Man (mk05) oil painting


Portrait of a Youn Man (mk05)
Painting ID::  20178
Artist: Correggio
Painting: Portrait of a Youn Man (mk05)
Introduction: Wood 231/4 x 17 1/4\'\'(59 x 44 cm).Formerly attributed to Raphael and then to Parmigianino.Enlarged by the artist;entered the Louvre in 1665
   
   
     

Correggio The Mystic Marriage (mk05) oil painting


The Mystic Marriage (mk05)
Painting ID::  20180
Artist: Correggio
Painting: The Mystic Marriage (mk05)
Introduction: Wood 411/4 x 40 1/4''(105 x 102 cm).Collections of Cardinal Mazarin and Louis XIV;entered the Louvre in 1661
   
   
     

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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.