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Guido Reni Kreuzigung des Hl. Petrus 1604-1605
Oil on canvas
305 x 175 cm
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Guido Reni Hl. Matthaus Evangelist und der Engel 1630-1640
Oil on canvas
86 x 68 cm
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Guido Reni Salome with the Head of John the Baptist Date 1630-1635
Medium Oil on canvas
Dimensions X cm
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Guido Reni Saint Sebastian Saint Sebastian
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Guido Reni Adoration of the shepherds Adoration of the shepherds
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Guido Reni Angel of the Annunciation Date Unknown date
Medium Oil on canvas
Dimensions 58,5 x 46,5 cm
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Guido Reni Der siegreiche Simson 161 1- 1612
Oil on canvas
260 X 223 cm
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Guido Reni Handmade English: Handmade oil painting reproduction of Angel of the Annunciation, a painting by Guido Reni. (Angel Gabriel)
Date 1575-1642
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Guido Reni Saint Sebastian Description St-Sebastian-xx-Guido-Reni.English: Saint Sebastian
Date 1600s
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Guido Reni Portrait of an old woman ca. 1632(1632)
Oil on canvas
64 ?? 55 cm (25.2 ?? 21.7 in)
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Guido Reni Thronende Madonna mit den Stadtheiligen Bolognas 1631 - 1632
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Guido Reni Portrat des Kardinals Bernardino Spada c. 1631
Oil on canvas
222 x 147 cm
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Guido Reni Magdalene with the Jar of Ointment ca. 1640(1640)
Oil on canvas
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Guido Reni The Suicide of Lucretia between 1625(1625) and 1640(1640)
Medium Oil on canvas
Dimensions 113 x 91 cm (44.5 x 35.8 in)
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Guido Reni Thronende Madonna mit den Stadtheiligen Bolognas 1631 - 1632
Medium Deutsch: Öl
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Guido Reni St Matthew and the angel Date 1620-30
Medium English: Oil on canvas
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Guido Reni Madonna with Child and St. John the Baptist . 1606(1606)
Medium Oil on copper
Dimensions 25 x 19 cm (9.8 x 7.5 in)
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Guido Reni Magdalene with the Jar of Ointment ca. 1640(1640)
Medium Oil on canvas
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Guido Reni St Matthew and the angel 1620-30
Medium English: Oil on canvas
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Guido Reni Drinking Bacchus 1623
Medium Oil on canvas
Dimensions 72 x 56 cm (28.3 x 22 in)
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Guido Reni
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1575-1642
Italian
Guido Reni Galleries
Born in Bologna into a family of musicians, Guido Reni was the son of Daniele Reni and Ginevra de?? Pozzi. As a child of nine, he was apprenticed under the Bolognese studio of Denis Calvaert. Soon after, he was joined in that studio by Albani and Domenichino. He may also have trained with a painter by the name of Ferrantini. When Reni was about twenty years old, the three Calvaert pupils migrated to the rising rival studio, named Accademia degli Incamminati (Academy of the "newly embarked", or progressives), led by Lodovico Carracci. They went on to form the nucleus of a prolific and successful school of Bolognese painters who followed Annibale Carracci to Rome. Like many other Bolognese painters, Reni's painting was thematic and eclectic in style.
By late 1601, Reni and Albani had moved to Rome to work with the teams led by Annibale Carracci in fresco decoration of the Farnese Palace. During 1601-1604, his main patron was cardinal Sfondrato. By 1604-1605, he received an independent commission for an altarpiece of the Crucifixion of St. Peter. After a few year sojourn in Bologna, he returned to Rome to become one of the premier painters during the papacy of Paul V (Borghese). From 1607-1614, he was one of the painters patronized by Borghese.
Abduction of Deianira, 1620-1621.Reni's frescoed ceiling of the large central hall of garden palace, Casino dell'Aurora located in the grounds of the Palazzo Pallavicini-Rospigliosi, is considered his masterpiece. The casino was originally a pavilion commissioned by Cardinal Scipione Borghese; the rear portion overlooks the Piazza Montecavallo and Palazzo del Quirinale. The massive fresco is framed in quadri riportati and depicts Apollo in his Chariot preceded by Dawn (Aurora) bringing light to the world. The work is restrained in classicism, copying poses from Roman Sarcophagi, and showing far more simplicity and restraint than Carracci's riotous Triumph of Bacchus and Ariadne[5] in the Farnese. Reni in this painting is allies himself more with the sterner Cavaliere d'Arpino,Lanfranco, and Albani "School" of mytho-historic painting, and less with the more crowded frescoes characteristic of Pietro da Cortona. There is little concession to perspective, and the vibrantly colored style is antithetical to the tenebrism of Caravaggio's followers. Payments showed that he was paid in 247 scudi and 54 baiocchi upon completion on 24 September 1616.
He also frescoed in Paoline Chapel of Santa Maria Maggiore in Rome as well as the Aldobrandini wings of the Vatican. According to rumor, the pontifical chapel of Montecavallo (Chapel of the Annuciation) was assigned to Reni to paint. However, because he felt underpaid by the ministers, the artist left for Bologna, leaving the role of the preeminent artist in Rome to Domenichino.
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