RENI, Guido

Italian Baroque Era Painter, 1575-1642 Italian painter, draughtsman and etcher. He was one of the greatest and most influential of the 17th-century Italian painters, whose sophisticated and complex art dominated the Bolognese school. A classicizing artist, deeply influenced by Greco-Roman art and by Raphael but also by the mannered elegance of Parmigianino's paintings, he sought an ideal beauty; his work was especially celebrated for its compositional and figural grace. In his religious art he was concerned with the expression of intense emotion, often charged with pathos; according to his biographer Malvasia, he boasted that he 'could paint heads with their eyes uplifted a hundred different ways' to give form to a state of ecstasy or divine inspiration.


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RENI, Guido The Glory of St Dominic oil


The Glory of St Dominic
Painting ID::  32495
The Glory of St Dominic
1613 Fresco
1613 Fresco
   
   
     

RENI, Guido Salome with the Head of Saint John the Baptist oil


Salome with the Head of Saint John the Baptist
Painting ID::  32498
Salome with the Head of Saint John the Baptist
1639-1640 Oil on canvas
1639-1640 Oil_on_canvas
   
   
     

RENI, Guido Recreation by our Gallery oil


Recreation by our Gallery
Painting ID::  32530
Recreation by our Gallery
mk79 About 1620
mk79 About_1620
   
   
     

RENI, Guido Recreation by our Gallery oil


Recreation by our Gallery
Painting ID::  32597
Recreation by our Gallery
mk79 1631 Prais
mk79 1631 Prais
   
   
     

RENI, Guido Recreation by our Gallery oil


Recreation by our Gallery
Painting ID::  32612
Recreation by our Gallery
mk79
mk79
   
   
     

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     RENI, Guido
     Italian Baroque Era Painter, 1575-1642 Italian painter, draughtsman and etcher. He was one of the greatest and most influential of the 17th-century Italian painters, whose sophisticated and complex art dominated the Bolognese school. A classicizing artist, deeply influenced by Greco-Roman art and by Raphael but also by the mannered elegance of Parmigianino's paintings, he sought an ideal beauty; his work was especially celebrated for its compositional and figural grace. In his religious art he was concerned with the expression of intense emotion, often charged with pathos; according to his biographer Malvasia, he boasted that he 'could paint heads with their eyes uplifted a hundred different ways' to give form to a state of ecstasy or divine inspiration.

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