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 Le mariage mystique de sainte Catherine d'Alexandrie avec saint Sebastien oil


Le mariage mystique de sainte Catherine d'Alexandrie avec saint Sebastien
Painting ID::  30974 		Le mariage mystique de sainte Catherine d'Alexandrie avec saint Sebastien
mk70 Bois H.1.05 L.1.02 Paris,Musee du Louvre
mk70 Bois H.1.05 L.1.02 Paris,Musee_du_Louvre
   
   
     
Correggio Danae,Detail of the two cupids oil


Danae,Detail of the two cupids
Painting ID::  31595 		Danae,Detail of the two cupids
mk74 Rome, Galleria Borghese
mk74 Rome, Galleria_Borghese
   
   
     
Correggio Madonna and Child with Angels playing Musical Instruments oil


Madonna and Child with Angels playing Musical Instruments
Painting ID::  31596 		Madonna and Child with Angels playing Musical Instruments
mk74 20x16.3cm Florence, Uffizi
mk74 20x16.3cm Florence, Uffizi
   
   
     
Correggio Modonna and Child with Saint Elizabeth and the Young Saint John oil


Modonna and Child with Saint Elizabeth and the Young Saint John
Painting ID::  31597 		Modonna and Child with Saint Elizabeth and the Young Saint John
mk74 77x99cm Milan, Painacoteca di Brera
mk74 77x99cm Milan, Painacoteca_di_Brera
   
   
     
Correggio Details of Modonna and Child with Saint Elizabeth and the Young Saint John oil


Details of Modonna and Child with Saint Elizabeth and the Young Saint John
Painting ID::  31598 		Details of Modonna and Child with Saint Elizabeth and the Young Saint John
mk74 77x99cm Milan, Painacoteca di Brera
mk74 77x99cm Milan, Painacoteca_di_Brera
   
   
     
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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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