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| 1489 births | |
| 1534 deaths | |
| people from the province of reggio emilia | |
| italian painters | |
| parmesan painters | |
| renaissance painters | |
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'', c. 1531.]] Antonio Allegri da Correggio ( Correggio, Italy August 1489 – March 5 , 1534 ) was an Italian Painter of the Renaissance . BIOGRAPHY Antonio Allegri was born in of the local monastery of St. Francis (now in the Dresden Gemäldegalerie ). In 1516 he was in Parma, where he become a friend of Michelangelo Anselmi, one of the main Mannerist painters of the period. He remained in that city until 1530 . In 1519 he married Girolama Francesca di Braghetis, also of Correggio, who died in 1529. From this period are the ''Madonna and Child with the Young Saint John'', ''Christ Leaving His Mother'' and the lost ''Madonna of Albinea''. Correggio's first major commission was the ceiling of the private dining salon of the mother-superior of the Convent of St Paul, called the Camera Di San Paolo (Parma). Here he painted a delightful arbor with playful cherub-filled oculi. Although painted for the local convent, it harkens to the secular frescoes of the pleasure palace of the Villa Farnesina in Rome. He then painted the illusionistic '' Vision Of St. John On Patmos '' (1520-21) for the dome of the church of San Giovanni Evangelista . Three years later he decorated the dome of the Cathedral Of Parma with a startling '' Assumption Of The Virgin '', crowded with layers of receding figures in perspective. The complexity of this work, and its disruption of the architeral roof and suggestion of divine infinity was innovative. Most fresco work was framed as canvases upon walls. Other masterpieces include '' compositions such as Bernini 's ('' Truth '') and Ercole Ferrata 's (''Death of Saint Agnes''), showing a gleeful saint entering martyrdom. MYTHOLOGICAL SERIES BASED ON OVID'S ''METAMORPHOSES'' In addition to his religious art, Correggio produced a set of mythological paintings centered around the ''Loves of Jupiter'' as described in Ovid 's '' Metamorphoses ''. The series was commissioned by Federico II Gonzaga of Mantua, probably to decorate his Ovid Room in the Palazzo Te . However, they were later given to the visiting Holy Roman Emperor Charles V and thus left Italy within years of thei completion. ''Leda and the Swan'', now in the Staatliche Museen in (Rome), shows the maiden being impregnated by a gilded curtain of rain. Semi-covered by sheets, Danae appears more innocent and gleeful than Titian's 1545 version of the same topic, where the rain is more accurately numismatic. The picture once called ''Anthiope and the Satyr'' is now correctly identified as '' Venus And Cupid With A Satyr ''. '' Ganymede Abducted By The Eagle '' depicts the young man aloft in literal amourous flight. Some have interpreted the abduction as a metaphor for the effects of John the Evangelist; however, given the erotic context of the other paintings, this seems unlikely. This painting and its partner, the masterpiece of '' Jupiter And Io '' (reproduced above), are in Kunsthistorisches Museum in Vienna . EVALUATION Correggio was remebered by his contemporaries as a shadowy, melancholic and introverted character, which was probably conditioned by his birth into a numerous and poor family. Correggio is an enigmatically eclectic artist, and it is not always possible to identify a stylistic link between his paintings. He appears to have emerged out of no major apprenticeship, and to have had little immediate influence in terms of apprenticed successors, but his works are now considered to have been revolutionary and influential on subsequent artists. A century after his death Correggio's work was well known to Vasari , who felt that he had not had enough "Roman" exposure to make him a better painter. In the 18th and 19th centuries, his works were often remembered in the diaries of the foreign visitors to Italy, a thing that led to a extraordinary revalutation of his art during Romanticism . The flight of the Madonna in the vault of the cupola of the Cathedral of Parma inspired numerous scenographical decorations in lay and religious palaces during the 20th centuries. For Correggio, art was a mean to reproduce life in his more persuasive and domestic side. At the same time, his illusionistic experiments, in which imaginary spaces replace the natural realiyu, seem to prefigure many elements of Mannerist and Baroque stylistic approaches. In other words, he appears to have fostered artistic grandchildren, despite being barren of direct disciples outside of Parma. In Parma, he was highly influential on the work of Giovanni Maria Francesco Rondani , Parmigianino , and Giorgio Gandini Del Grano . There are echoes of Mantegna 's style in his work, and he was influenced also by Lorenzo Costa and Leonardo Da Vinci . Correggio was an elder contemporary of Parmigianino , albeit their painting styles were very different. SEE ALSO SELECTED WORKS
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