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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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The Rest on the Flight into Egypt
mk67
Oil on canvas
48 5/8x41 15/16in
Uffizi,Gallery
Painting ID:: 29879
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The_Rest_on_the_Flight_into_Egypt
mk67
Oil on canvas
48 5/8x41 15/16in
Uffizi,Gallery
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Venus and Cupid with a Satyr
mk68
Oil on canvas
6'2"x4'1 1/2"
Paris
c.1520
Italy
Painting ID:: 30479
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Venus_and_Cupid_with_a_Satyr
mk68
Oil on canvas
6'2"x4'1 1/2"
Paris
c.1520
Italy
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Assumption of the Virgin
mk68
Fresco
Parma,Parma Cathedral
1526-1530
Italy
Painting ID:: 30482
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Assumption_of_the_Virgin
mk68
Fresco
Parma,Parma Cathedral
1526-1530
Italy
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Allegorie des vertus on La vertu heroique victorieuse des vices
mk70
Toile
H.1.48
L.0.88
Paris,Musee du Louvre
Painting ID:: 30972
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Allegorie_des_vertus_on_La_vertu_heroique_victorieuse_des_vices
mk70
Toile
H.1.48
L.0.88
Paris,Musee du Louvre
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Venus,Satyre et Cupidon
mk70
Toile.
H.1.88
L.1.25
Paris,Musee du Louvre
Painting ID:: 30973
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Venus,Satyre_et_Cupidon
mk70
Toile.
H.1.88
L.1.25
Paris,Musee du Louvre
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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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