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Correggio
The Madonna of the Basket
mk170
circa 1525
Oil on wood
33.7x25.1cm
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Correggio
Ecce Homo
mk170
1525-1527
Oil on poplar
99.7x80cm
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Correggio
Venus with Mercury and Cupid
mk170
1523-1525
Oil on canvas
155.6x91.4cm
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Correggio
Madonna with St. Francis
1514
Oil on wood,
299 x 245 cm
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Correggio
Jupiter and Io
mk176
early 1530s
Oil on canvas
64x28
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Correggio
The Tempest
mk176
1505-10
Oil on canvas
76.8x73cm
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Correggio
Venus, satyr and Cupido
mk234
1524/25
190x124cm
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Correggio
Sta Katarina-s mysterious formalning
mk234
ca 1510/15
28x21cm
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Correggio
jupiter and lo
c.1530 ,oil on canvas,67.375x29.125 in,163.5x74 cm,kunsthistorisches museum,vienna,austria
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Correggio
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
Jupiter and Io typifies the unabashed eroticism
Jupiter and Io (c. 1531) typifies the unabashed eroticism, radiance, and cool, pearly colors associated with Correggio's best work.
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Correggio
Ganymede Abducted by the Eagle
Ganymede Abducted by the Eagle, one of the four mythological paintings commissioned by Federico II Gonzaga, is a proto-Baroque work due to its depiction of movement, drama, and diagonal compositional arrangement.
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Correggio
Correggio famous frescoes in Parma seems to melt the ceiling of the cathedral and draw the viewer into a gyre of spiritual ecstasy.
Correggio's famous frescoes in Parma seems to melt the ceiling of the cathedral and draw the viewer into a gyre of spiritual ecstasy.
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Correggio
The Mystic Marriage of St. Catherine
The Mystic Marriage of St. Catherine (c. 1520), Correggio's most important contribution to the High Renaissance art, exhibits Leonardo's pronounced influence on his early style.
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Correggio
Leda mit dem Schwan
Oil on canvas
152 x 191 cm
1531
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Correggio
Leda mit dem Schwan
Medium oil on canvas
Dimensions 152 X 191 cm
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Correggio
Leda mit dem Schwan
Medium Oil on canvas
Dimensions Expression error: Missing operand for *152 ?? 191 cm
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Correggio
Portrait of a Young Man,
Correggio: Portrait of a Young Man, c. 1525, oil on wood, 59 x 44 cm (23 1/4 x 17 1/4 in.), Musee du Louvre, Paris
ca. 1525(1525)
cjr
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Correggio
Portrait of a Young Man
c. 1525, oil on wood, 59 x 44 cm (23 1/4 x 17 1/4 in.), Mus??e du Louvre, Paris
Date ca. 1525(1525)
cyf
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Correggio
Madonna and Child with infant St John the Baptist
oil on wood painting by Correggio, 1514 - 15, 45.0 x 35.5 cm, National Gallery of Victoria, Melbourne
Date 1514 - 15
cyf
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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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