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Correggio
Madonna with St.Jerome
1522
Galleria Nazionale, Parma
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Correggio
Lunette with St.John the Evangelist
Church of San Giovanni Evangelista
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Correggio
The Mystic Marriage of St.Catherine
1510-15
National Gallery of Art, Washington DC
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Correggio
The Adoration of the Magi_3
Pinacoteca di Brera, Milan
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Correggio
Jupiter and Io
1531-32
Art History Museum, Vienna
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Correggio
Noli me Tangere
1525
Museo del Prado, Madrid
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Correggio
Madonna and Child with the Young Saint John
1516
Museo del Prado, Madrid
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Correggio
Madonna with St.George
Gemaldegalerie, Dresden
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Correggio
Adoration of the Shepherds
Gemaldegalerie, Dresden
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Correggio
The Education of Cupid
1528
National Gallery, London
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Correggio
Portrait of a Gentlewoman
1517-19
The Hermitage, St.Petersburg
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Correggio
Allegory of Virtue
1632-34
Musee du Louvre, Paris
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Correggio
Allegory of Vice
Musee du Louvre, Paris
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Correggio
Venus and Cupid with a Satyr
1528
Musee du Louvre, Paris
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Correggio
Ganymede
1531-32
Kunsthistorisches Museum, Vienna
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Correggio
Leda1
1531-32
Gemaldegalerie, Berlin
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Correggio
Madonna della Cesta,
National Gallery, London
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Correggio
Ecce Homo
National Gallery, London
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Correggio
Madonna Worshipping the Child
Galleria degli Uffizi, Florence
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Correggio
The Rest on the Flight to Egypt with Saint Francis
1517
Galleria degli Uffizi, Florence
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| Correggio
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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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