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Samson Captured by the Philistines uig
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Samson_Captured_by_the_Philistines_uig
1619
Oil on canvas
Metropolitan Museum of Art, New York
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Susanna and the Elders kyh
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Susanna_and_the_Elders_kyh
1617
Oil on canvas, 175 x 207 cm
Museo del Prado, Madrid
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St William of Aquitaine Receiving the Cowln ngb
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St_William_of_Aquitaine_Receiving_the_Cowln__ngb
1620
Oil on canvas
Pinacoteca Nazionale, Bologna
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St Augustine Washing the Feet of the Redeemer kg
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St_Augustine_Washing_the_Feet_of_the_Redeemer_kg
Oil on canvas
S. Agostino in Campo Marzio, Rome
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St Augustine, St John the Baptist and St Paul the Hermit hf
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St_Augustine,_St_John_the_Baptist_and_St_Paul_the_Hermit_hf
Oil on canvas
S. Agostino in Campo Marzio, Rome
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GUERCINO
Italian Baroque Era Painter, 1591-1666
best known as Guercino or Il Guercino, was an Italian Baroque painter from the region of Emilia, and active in Rome and Bologna. Guercino is Italian for squinter, a nickname that was given to him because he was cross-eyed. He is especially noted for his many superb drawings. Guercino was born at Cento, a village between Bologna and Ferrara. By the age of 17 he was associated with Benedetto Gennari, a painter of the Bolognese School. By 1615 he moved to Bologna, where his work earned the praise of an elder Ludovico Carracci. He painted two large canvases, Elijah Fed by Ravens and Samson Seized by Philistines, in what appears to be a stark naturalist Caravaggesque style (although it is unlikely he had been able to see any of the Roman Caravaggios first-hand). They were painted for Cardinal Serra, Papal Legate to Ferrara. The Arcadian Shepherds (Et in Arcadia ego) was painted in 1618 contemporary with The Flaying of Marsyas by Apollo in Palazzo Pitti. His first style, he often claimed, was influenced by a canvas of Carracci in Cento. Some of his later pieces approach rather to the manner of his great contemporary Guido Reni, and are painted with more lightness and clearness. Guercino was esteemed very highly in his lifetime. He was then recommended by Marchese Enzo Bentivoglio to the Bolognese Ludovisi Pope, Pope Gregory XV. His two years (1621-23) spent in Rome were very productive. From this stay date his frescoes of Aurora at the casino of the Villa Ludovisi and the ceiling in San Crisogono (1622) of San Chrysogonus in Glory; his portrait of Pope Gregory (now in the Getty Museum, and, what is considered his masterpiece, The Burial of Saint Petronilla or St. Petronilla Altarpiece, for the Vatican (now in the Museo Capitolini). The Franciscan order of Reggio in 1655 paid him 300 ducats for the altarpiece of Saint Luke Displaying a Painting of the Madonna and Child (now in Nelson-Atkins Museum of Art, Kansas City). The Corsini also paid him 300 ducats for the Flagellation of Christ painted in 1657.
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