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Correggio
Painting
1489-1534. Around 1522. Oil on canvas
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Correggio
Virgin and Child with an Angel
Date first half of 16th century
Medium Oil on wood
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Correggio
Virgin and Child with an Angel
Date first half of 16th century
Medium Oil on wood
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Correggio
Vier Heilige
c. 1517
Medium oil on canvas
Dimensions Deutsch: 172 x 126 cm
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Correggio
Madonna with St. Francis
1514(1514)
Medium oil on wood
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Correggio
Christ presented to the People
c. 1525-30, oil on wood, 99.7 x 80 cm,
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Correggio
Kopf des Merkur
c. 1528
Medium oil on canvas
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Correggio
Ruhe auf der Flucht nach agypten, mit Hl. Franziskus
1517(1517)
Medium oil on canvas
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Correggio
Die Mystische Hochzeit der Hl. Katharina von Alexandrien
c. 1518
Medium oil on canvas
Dimensions Deutsch: 28 X 24 cm
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Correggio
Virgin and Child with an Angel
first half of 16th century
Medium oil on panel
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Correggio
Virgin and Child with an Angel
first half of 16th century
Medium oil on panel
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Correggio
Virgin and Child with an Angel
between 1522(1522) and 1525(1525)
Medium oil on panel
Dimensions Height: 69 cm (27.2 in). Width: 57 cm (22.4 in).
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Correggio
Assumption of the Virgin
1526-1530
Type Fresco
Dimensions 1093 cm x 1195 cm
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Correggio
Nativity
1529-1530
Type Oil on canvas
Dimensions 256.5 cm x 188 cm
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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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