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 Rest on the Flight into Egypt oil


The Rest on the Flight into Egypt
Painting ID::  29879 		The Rest on the Flight into Egypt
mk67 Oil on canvas 48 5/8x41 15/16in Uffizi,Gallery
mk67 Oil_on_canvas 48_5/8x41_15/16in Uffizi,Gallery
   
   
     
Correggio Venus and Cupid with a Satyr oil


Venus and Cupid with a Satyr
Painting ID::  30479 		Venus and Cupid with a Satyr
mk68 Oil on canvas 6'2"x4'1 1/2" Paris c.1520 Italy
mk68 Oil_on_canvas 6'2"x4'1_1/2" Paris c.1520 Italy
   
   
     
Correggio Assumption of the Virgin oil


Assumption of the Virgin
Painting ID::  30482 		Assumption of the Virgin
mk68 Fresco Parma,Parma Cathedral 1526-1530 Italy
mk68 Fresco Parma,Parma_Cathedral 1526-1530 Italy
   
   
     
Correggio Allegorie des vertus on La vertu heroique victorieuse des vices oil


Allegorie des vertus on La vertu heroique victorieuse des vices
Painting ID::  30972 		Allegorie des vertus on La vertu heroique victorieuse des vices
mk70 Toile H.1.48 L.0.88 Paris,Musee du Louvre
mk70 Toile H.1.48 L.0.88 Paris,Musee_du_Louvre
   
   
     
Correggio Venus,Satyre et Cupidon oil


Venus,Satyre et Cupidon
Painting ID::  30973 		Venus,Satyre et Cupidon
mk70 Toile. H.1.88 L.1.25 Paris,Musee du Louvre
mk70 Toile. H.1.88 L.1.25 Paris,Musee_du_Louvre
   
   
     
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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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