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Correggio
Allegory of Vice
mk74
149x88cm
Paris,Louvre
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Correggio
Allegory of Vice
mk74
149x88cm
paris,Louvre
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Correggio
Allegory of Virtue
mk74
149x88cm
Paris,Louvre
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Correggio
Zeus and Antiope
mk86
c.1524-25
Oil on canvas
188x125cm
Paris,Musee National du Louvre
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Correggio
Leda and the Swan
mk86
c.1531/32
Oil oncanvas
152x191cm
Berlin,Gemaledgalerie,Staatliche Museen zu Berlin-Preubischer Kulturbesitz
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Correggio
Zeus and Io
mk86
c.1531/32
Oil on canvas
163.5x74cm
Vienna,Kunsthistorisches Museum
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Correggio
The Abduction of Ganymede
mk86
c.1531/32
Oil on canvas
163.5x70.5cm
Vienna,Kunsthistorisches Museum
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Correggio
Portrait of a Lady
mk91
Oil on canvas
103x87
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Correggio
Fupiter and I
mk150
c.1530
Canvas
163.5x74cm
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Correggio
Abducation of Ganymede
mk150
c.1530
Canvas
163.5x70.5cm
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Correggio
Vision of St John the Evangelist on Patmos
mk156
1520
Fresco
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Correggio
Rest on the Flight to Egypt with Saint Francis
mk156
c.1517
Oil on canvas
123.5x106.5cm
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Correggio
Assumption of the Virgin
mk156
1526-30
1093x1195cm
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Correggio
Abduction of Ganymede
mk156
1531
Oil on canvas
163x71cm
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Correggio
Jupiter and lo
mk156
1531
Oil on canvas
163.5x70cm
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Correggio
The marriage mistico of Holy Catalina with San Sebastian
mk166
Enters 1526 and 1527
I Wave on wood
105x102cm Museum of the Louvre, Paris
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Correggio
The Adoracion al Nino
mk166
1617 I Wave on board of Wood 81x77cm Uffizi, Florence
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Correggio
The heaven speed of Maria
MK169
Detail 1526-30 Fresco Domkoepel Parma
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Correggio
Danae
MK169
ca. 1532 Cloth 163.5x74cm Galleria Borghese Rome
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Correggio
Christ Taking Leave of His Mother
mk170
1512-1513
Oil on canvas
86.7x76.5cm
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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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