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 The Madonna of the Basket oil


The Madonna of the Basket
Painting ID::  43013
The Madonna of the Basket
mk170 circa 1525 Oil on wood 33.7x25.1cm
mk170 circa_1525 Oil_on_wood 33.7x25.1cm
   
   
     

Correggio Ecce Homo oil


Ecce Homo
Painting ID::  43014
Ecce Homo
mk170 1525-1527 Oil on poplar 99.7x80cm
mk170 1525-1527 Oil_on_poplar 99.7x80cm
   
   
     

Correggio Venus with Mercury and Cupid oil


Venus with Mercury and Cupid
Painting ID::  43015
Venus with Mercury and Cupid
mk170 1523-1525 Oil on canvas 155.6x91.4cm
mk170 1523-1525 Oil_on_canvas 155.6x91.4cm
   
   
     

Correggio Madonna with St. Francis oil


Madonna with St. Francis
Painting ID::  44302
Madonna with St. Francis
1514 Oil on wood, 299 x 245 cm
1514_ Oil_on_wood,_ 299_x_245_cm
   
   
     

Correggio Jupiter and Io oil


Jupiter and Io
Painting ID::  44898
Jupiter and Io
mk176 early 1530s Oil on canvas 64x28
mk176 early_1530s Oil_on_canvas 64x28
   
   
     

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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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