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.  Related Paintings of Correggio :. | Madonna with Saint Sebastian | Assumption of the Virgin | Pendentives depicting Saint Thomas,Saint Bernard,and Saint John | Ecce Homo | Details of Rest on the Flight into Egypt with Saint Francis |
Related Artists:
Franciszek Ksawery Lampi
(1782 - 1852) was a Polish Romantic painter.
Vladimir Tatlin
1885-1953,Ukrainian sculptor and painter. After a visit to Paris (1914), he became the leader of a group of Moscow artists who sought to apply engineering techniques to sculpture construction, a movement that developed into Constructivism. He pioneered the use of iron, glass, wood, and wire in nonrepresentational constructions. His Monument to the Third International, commissioned by the Soviet government, was one of the first buildings conceived entirely in abstract terms and was intended to be, at more than 1,300 ft (400 m), the world's tallest structure. A model was exhibited at the 1920 Soviet Congress, but the government disapproved of nonfigurative art and it was never built. After 1933 Tatlin worked largely as a stage designer.
Giulio Romano
Italian 1492-1546 Giulio Romano was born in Rome. In his native city, as a young assistant in Raphael's studio, he worked on the frescos in the Vatican loggias to designs by Raphael and in Raphael's Stanze in the Vatican painted a group of figures in the Fire in the Borgo (L'incendio di Borgo) fresco. He also collaborated on the decoration of the ceiling of the Villa Farnesina. After the death of Raphael in 1520, he helped complete the Vatican frescoes of the life of Constantine as well as Raphael's Coronation of the Virgin and the Transfiguration in the Vatican. In Rome, Giulio decorated the Villa Madama for Cardinal Giuliano de' Medici, afterwards Clement VII. The crowded Giulio Romano frescoes lack the stately and serene simplicity of his master. In the Palazzo Te, MantuaAfter the Sack of Rome in 1527 and the death of Leo X, artistic patronage in Rome slackened. Vasari tells how Baldassare Castiglione was delegated by Federico Gonzaga to procure Giulio to execute paintings and architectural and engineering projects for the duchy of Mantua. His masterpiece of architecture and fresco painting in that city is the suburban Palazzo Te, with its famous illusionistic frescos (c. 1525?C1535). He also helped rebuild the ducal palace in Mantua, reconstructed the cathedral, and designed the nearby Church of San Benedetto. Sections of Mantua that had been flood-prone were refurbished under Giulio's direction, and the duke's patronage and friendship never faltered: Giulio's annual income amounted to more than 1000 ducats. His studio became a popular school of art.