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 Coronation of the Virgin oil painting


Coronation of the Virgin
mk74 215.5x330cm Parma, Galleria Nazionale
Painting ID::  31629 		Correggio
Coronation of the Virgin
mk74 215.5x330cm Parma, Galleria Nazionale
   
   
     
Correggio Sinopia of the Coronation of the Virgin oil painting


Sinopia of the Coronation of the Virgin
mk74 Parma Biblitoteca Palatina
Painting ID::  31630 		Correggio
Sinopia of the Coronation of the Virgin
mk74 Parma Biblitoteca Palatina
   
   
     
Correggio Lunette with Saint John the Evangelist oil painting


Lunette with Saint John the Evangelist
mk74 Parma, Church of San Giovanni Evangelista above the entrance to the colisters
Painting ID::  31631 		Correggio
Lunette with Saint John the Evangelist
mk74 Parma, Church of San Giovanni Evangelista above the entrance to the colisters
   
   
     
Correggio Annunciation oil painting


Annunciation
mk74 115x157cm parma Galleria Nazionale
Painting ID::  31632 		Correggio
Annunciation
mk74 115x157cm parma Galleria Nazionale
   
   
     
Correggio Madonna della Scala oil painting


Madonna della Scala
mk74 196x141.8cm Parma, Galleria Nazionale
Painting ID::  31633 		Correggio
Madonna della Scala
mk74 196x141.8cm Parma, Galleria Nazionale
   
   
     
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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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