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Correggio Assumption of the Virgin,details with angels bearing musical instruments mk74
Parma,Duomo
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Correggio Assumption of the Virgin,details with angels bearing musical instruments mk74
Parma,Duomo
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Correggio Assumption of the Virgin,detail with the Assumption mk74
Parma,
Duomo
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Correggio Assumption of the Virgin,details with Eve,angels,and putti mk74
Parma,Duomo
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Correggio Assumption of the Virgin,details with Eve,angels,and putti mk74
Parma,Duomo
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Correggio Pendentives depicting Saint Thomas,Saint Bernard,and Saint John mk74
Parma,
Duomo
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Correggio Pendentives depicting Saint Thomas,Saint Bernard,and Saint John mk74
Parma,
Duomo
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Correggio Pendentives depicting Saint Thomas,Saint Bernard,and Saint John mk74
Parma,Duomo
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Correggio Partial view of the cupola with the pendentive depicting Saint Hilary mk74
Parma,Duomo
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Correggio Madona with Saint jerome mk74
205.7x141cm
Parma,
Galleria Nazionale
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Correggio Venus and Cupid with a Satyr mk74
188.5x125.5cm
Paris,Louvre
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Correggio The Education of Cupid mk74
155x91.5cm
London,
National Gallery
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Correggio Adoration of the Shepherds mk74
256.5x188cm
Dresden,Gemaldegalerie
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Correggio Madonna della Scodella mk74
216.7x137.3cm
Parma
Galleria Nazionale
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Correggio Madonna with Saint George mk74
285x190cm
Dresden,Gemaldegalerie
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Correggio Danae mk74
161x193cm
Roma,
Galleria Borghese
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Correggio Leda mk74
152x191cm
Berlin,Gemaldegalerie
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Correggio Leda mk74
152x191cm
Berlin,Gemaldegalerie
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Correggio Io mk74
163.5x70.5cm
Vienna,Kunsthistorisches Museum
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Correggio Ganymede mk74
163.5x70.5cm
Vienna,Kunsthistorisches Museum
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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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