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St Augustine sdg
GUERCINO16.jpg
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St_Augustine_sdg
Oil on canvas
S. Pietro in Vincoli, Rome
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Martyrdom of St Catherine sdg
GUERCINO17.jpg
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Martyrdom_of_St_Catherine_sdg
1653
Oil on canvas, 222,5 x 159 cm
The Hermitage, St. Petersburg
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The Entombment of Christ sdg
GUERCINO18.jpg
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The_Entombment_of_Christ_sdg
1656
Oil on canvas
Art Institute of Chicago, Chicago
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The Flagellation of Christ dg
GUERCINO19.jpg
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The_Flagellation_of_Christ_dg
1657
Oil on canvas 250 x 185 cm
Galleria Nazionale d'Arte Antica, Rome
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St Francis with an Angel Playing Violin sdg
GUERCINO20.jpg
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St_Francis_with_an_Angel_Playing_Violin_sdg
Oil on canvas, 162 x 127 cm
Gemäldegalerie, Dresden
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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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