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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 Tempest
mk176
1505-10
Oil on canvas
76.8x73cm
Painting ID:: 44899
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The_Tempest
mk176
1505-10
Oil on canvas
76.8x73cm
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Venus, satyr and Cupido
mk234
1524/25
190x124cm
Painting ID:: 53749
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Venus,_satyr_and_Cupido
mk234
1524/25
190x124cm
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Sta Katarina-s mysterious formalning
mk234
ca 1510/15
28x21cm
Painting ID:: 53750
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Sta_Katarina-s_mysterious_formalning
mk234
ca 1510/15
28x21cm
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jupiter and lo
c.1530 ,oil on canvas,67.375x29.125 in,163.5x74 cm,kunsthistorisches museum,vienna,austria
Painting ID:: 56012
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jupiter_and_lo
c.1530 ,oil on canvas,67.375x29.125 in,163.5x74 cm,kunsthistorisches museum,vienna,austria
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Venus and Eros was found Lin God
mk255 made in the sixteenth century, 25 years ago. Canvas 1.88 meters high, 1.25 meters wide. Paris, the Louvre
Painting ID:: 57233
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Venus_and_Eros_was_found_Lin_God
mk255 made in the sixteenth century, 25 years ago. Canvas 1.88 meters high, 1.25 meters wide. Paris, the 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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