All Correggio Oil Paintings

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 Vice oil on canvas


Allegory of Vice
Allegory of Vice
Painting ID::  31669
  mk74 149x88cm Paris,Louvre
  mk74 149x88cm Paris,Louvre

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Correggio Allegory of Vice oil on canvas


Allegory of Vice
Allegory of Vice
Painting ID::  31670
  mk74 149x88cm paris,Louvre
  mk74 149x88cm paris,Louvre

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Correggio Allegory of Virtue oil on canvas


Allegory of Virtue
Allegory of Virtue
Painting ID::  31671
  mk74 149x88cm Paris,Louvre
  mk74 149x88cm Paris,Louvre

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Correggio Zeus and Antiope oil on canvas


Zeus and Antiope
Zeus and Antiope
Painting ID::  33486
  mk86 c.1524-25 Oil on canvas 188x125cm Paris,Musee National du Louvre
  mk86 c.1524-25 Oil on canvas 188x125cm Paris,Musee National du Louvre

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Correggio Leda and the Swan oil on canvas


Leda and the Swan
Leda and the Swan
Painting ID::  33487
  mk86 c.1531/32 Oil oncanvas 152x191cm Berlin,Gemaledgalerie,Staatliche Museen zu Berlin-Preubischer Kulturbesitz
  mk86 c.1531/32 Oil oncanvas 152x191cm Berlin,Gemaledgalerie,Staatliche Museen zu Berlin-Preubischer Kulturbesitz

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     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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