Guido Reni
1575-1642 Italian Guido Reni Galleries Born in Bologna into a family of musicians, Guido Reni was the son of Daniele Reni and Ginevra de?? Pozzi. As a child of nine, he was apprenticed under the Bolognese studio of Denis Calvaert. Soon after, he was joined in that studio by Albani and Domenichino. He may also have trained with a painter by the name of Ferrantini. When Reni was about twenty years old, the three Calvaert pupils migrated to the rising rival studio, named Accademia degli Incamminati (Academy of the "newly embarked", or progressives), led by Lodovico Carracci. They went on to form the nucleus of a prolific and successful school of Bolognese painters who followed Annibale Carracci to Rome. Like many other Bolognese painters, Reni's painting was thematic and eclectic in style. By late 1601, Reni and Albani had moved to Rome to work with the teams led by Annibale Carracci in fresco decoration of the Farnese Palace. During 1601-1604, his main patron was cardinal Sfondrato. By 1604-1605, he received an independent commission for an altarpiece of the Crucifixion of St. Peter. After a few year sojourn in Bologna, he returned to Rome to become one of the premier painters during the papacy of Paul V (Borghese). From 1607-1614, he was one of the painters patronized by Borghese. Abduction of Deianira, 1620-1621.Reni's frescoed ceiling of the large central hall of garden palace, Casino dell'Aurora located in the grounds of the Palazzo Pallavicini-Rospigliosi, is considered his masterpiece. The casino was originally a pavilion commissioned by Cardinal Scipione Borghese; the rear portion overlooks the Piazza Montecavallo and Palazzo del Quirinale. The massive fresco is framed in quadri riportati and depicts Apollo in his Chariot preceded by Dawn (Aurora) bringing light to the world. The work is restrained in classicism, copying poses from Roman Sarcophagi, and showing far more simplicity and restraint than Carracci's riotous Triumph of Bacchus and Ariadne[5] in the Farnese. Reni in this painting is allies himself more with the sterner Cavaliere d'Arpino,Lanfranco, and Albani "School" of mytho-historic painting, and less with the more crowded frescoes characteristic of Pietro da Cortona. There is little concession to perspective, and the vibrantly colored style is antithetical to the tenebrism of Caravaggio's followers. Payments showed that he was paid in 247 scudi and 54 baiocchi upon completion on 24 September 1616. He also frescoed in Paoline Chapel of Santa Maria Maggiore in Rome as well as the Aldobrandini wings of the Vatican. According to rumor, the pontifical chapel of Montecavallo (Chapel of the Annuciation) was assigned to Reni to paint. However, because he felt underpaid by the ministers, the artist left for Bologna, leaving the role of the preeminent artist in Rome to Domenichino.
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Guido Reni Susannah and the Elders oil painting


Susannah and the Elders
The National Gallery, London
Painting ID::  3415 		Guido Reni
Susannah and the Elders
The National Gallery, London
   
   
     
Guido Reni Charity oil painting


Charity
Metropolitan Museum of Art, New York
Painting ID::  3416 		Guido Reni
Charity
Metropolitan Museum of Art, New York
   
   
     
Guido Reni The Abduction of Helen (mk05) oil painting


The Abduction of Helen (mk05)
Canvas,99 1/2 x 104 1/4''(253 x 265 cm);6 3/4''(16 cm)at right edge is a later addition.Commissioned in 1626-1628 by the Spanish ambassador in Rome for the Gallery of Philip IV of Spain and finished in 1631.Acquired by Marquis de la Vrilliere for the decoration of his mansion in Paris;seized in the Revolution from the Duc de Penthievre,INV
Painting ID::  20372 		Guido Reni
The Abduction of Helen (mk05)
Canvas,99 1/2 x 104 1/4''(253 x 265 cm);6 3/4''(16 cm)at right edge is a later addition.Commissioned in 1626-1628 by the Spanish ambassador in Rome for the Gallery of Philip IV of Spain and finished in 1631.Acquired by Marquis de la Vrilliere for the decoration of his mansion in Paris;seized in the Revolution from the Duc de Penthievre,INV
   
   
     
Guido Reni Hercules Wrestling with Achelous (mk05) oil painting


Hercules Wrestling with Achelous (mk05)
1620-1621 Canvas,102 1/4 x 75 1/2''(260 x 192 cm).Commissioned in 1617 by Ferdinando Gonzaga,Duke of Mantua,for a room in the Villa Favorita near Mantua;painted 1620-1621.The four pictures on this spread are an allegory of the triumphant power of the Gonzaga family.Collection of Charles I;acquired by Louis XIV from Eberhard Jabach in 1662 INV
Painting ID::  20375 		Guido Reni
Hercules Wrestling with Achelous (mk05)
1620-1621 Canvas,102 1/4 x 75 1/2''(260 x 192 cm).Commissioned in 1617 by Ferdinando Gonzaga,Duke of Mantua,for a room in the Villa Favorita near Mantua;painted 1620-1621.The four pictures on this spread are an allegory of the triumphant power of the Gonzaga family.Collection of Charles I;acquired by Louis XIV from Eberhard Jabach in 1662 INV
   
   
     
Guido Reni Hercules on the Pyre (mk05) oil painting


Hercules on the Pyre (mk05)
Canvas,103 x 75 1/2''(261 x 192 cm).Collection of Charles I;acquired by Louis XIV from Eberhard Jabach in 1662
Painting ID::  20376 		Guido Reni
Hercules on the Pyre (mk05)
Canvas,103 x 75 1/2''(261 x 192 cm).Collection of Charles I;acquired by Louis XIV from Eberhard Jabach in 1662
   
   
     
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     Guido Reni
     1575-1642 Italian Guido Reni Galleries Born in Bologna into a family of musicians, Guido Reni was the son of Daniele Reni and Ginevra de?? Pozzi. As a child of nine, he was apprenticed under the Bolognese studio of Denis Calvaert. Soon after, he was joined in that studio by Albani and Domenichino. He may also have trained with a painter by the name of Ferrantini. When Reni was about twenty years old, the three Calvaert pupils migrated to the rising rival studio, named Accademia degli Incamminati (Academy of the "newly embarked", or progressives), led by Lodovico Carracci. They went on to form the nucleus of a prolific and successful school of Bolognese painters who followed Annibale Carracci to Rome. Like many other Bolognese painters, Reni's painting was thematic and eclectic in style. By late 1601, Reni and Albani had moved to Rome to work with the teams led by Annibale Carracci in fresco decoration of the Farnese Palace. During 1601-1604, his main patron was cardinal Sfondrato. By 1604-1605, he received an independent commission for an altarpiece of the Crucifixion of St. Peter. After a few year sojourn in Bologna, he returned to Rome to become one of the premier painters during the papacy of Paul V (Borghese). From 1607-1614, he was one of the painters patronized by Borghese. Abduction of Deianira, 1620-1621.Reni's frescoed ceiling of the large central hall of garden palace, Casino dell'Aurora located in the grounds of the Palazzo Pallavicini-Rospigliosi, is considered his masterpiece. The casino was originally a pavilion commissioned by Cardinal Scipione Borghese; the rear portion overlooks the Piazza Montecavallo and Palazzo del Quirinale. The massive fresco is framed in quadri riportati and depicts Apollo in his Chariot preceded by Dawn (Aurora) bringing light to the world. The work is restrained in classicism, copying poses from Roman Sarcophagi, and showing far more simplicity and restraint than Carracci's riotous Triumph of Bacchus and Ariadne[5] in the Farnese. Reni in this painting is allies himself more with the sterner Cavaliere d'Arpino,Lanfranco, and Albani "School" of mytho-historic painting, and less with the more crowded frescoes characteristic of Pietro da Cortona. There is little concession to perspective, and the vibrantly colored style is antithetical to the tenebrism of Caravaggio's followers. Payments showed that he was paid in 247 scudi and 54 baiocchi upon completion on 24 September 1616. He also frescoed in Paoline Chapel of Santa Maria Maggiore in Rome as well as the Aldobrandini wings of the Vatican. According to rumor, the pontifical chapel of Montecavallo (Chapel of the Annuciation) was assigned to Reni to paint. However, because he felt underpaid by the ministers, the artist left for Bologna, leaving the role of the preeminent artist in Rome to Domenichino.

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