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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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The Massacre of the Innocents
mk86
1611
Oil on canvas
268x170cm
Bologna,Pinacoteca Nazionale
Painting ID:: 33575
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The_Massacre_of_the_Innocents
mk86
1611
Oil on canvas
268x170cm
Bologna,Pinacoteca Nazionale
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The Baptism of Christ
mk86
c.1623
Oil on canvas
263.5x186.5cm
Vienna,Kunsthistorisches Museum
Painting ID:: 33576
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The_Baptism_of_Christ
mk86
c.1623
Oil on canvas
263.5x186.5cm
Vienna,Kunsthistorisches Museum
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The Massacre of the Innocents
mk156
c.1611
Oil on canvas
268x170cm
Painting ID:: 40415
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The_Massacre_of_the_Innocents
mk156
c.1611
Oil on canvas
268x170cm
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The Rape of Helena
1631
Oil on canvas
Painting ID:: 51061
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The_Rape_of_Helena
1631
Oil on canvas
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The Gathering of the Manna
1614-15
Oil on canvas,
280 x 170 cm
Painting ID:: 51279
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The_Gathering_of_the_Manna
1614-15
Oil on canvas,
280 x 170 cm
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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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