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Madonna worshipping the Child
new4/Correggio-432427.jpg
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Madonna_worshipping_the_Child
mk74
81x67cm
Florence,uffizi
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Madonna del Latte
new4/Correggio-683532.jpg
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Madonna_del_Latte
mk74
68.5x57cm
Budapest,Szepmuveszeti Muzeum
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Madonna della Cesta
new4/Correggio-382938.jpg
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Madonna_della_Cesta
mk74
34x25cm
London,
National Gallery
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Madonna with Saint Sebastian
new4/Correggio-577727.jpg
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Madonna_with_Saint_Sebastian
mk74
265x161cm
Dresden,Gemaldeglerie
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Wedding of Saint Catherine
new4/Correggio-627897.jpg
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Wedding_of_Saint_Catherine
mk74
105x102cm
Paris,Louvre
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Correggio
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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