Biography and informationEdit
Antonio da Correggio (actually Antonio Allegri; ital. Correggio; Antonio Allegri) — Italian painter of the High Renaissance period.
He worked in Parma and Correggio (from which it got its nickname), enjoyed the patronage of the Countess of the city of poetess Veronica Gambara who recommended him to the Duke of Mantua.
Was influenced by Andrea Mantegna, Leonardo da Vinci, Raphael, Michelangelo, Dosso Dossi.
Correggio, indeed by Antonio Allegri (Allegri), called Correggio for his birthplace (Modena region) — a famous Italian painter (1494-1534). Original art education was under the guidance of his uncle, L. Allegri, and Bartolotti, and later used the lessons Ferrarese painter FR. Bianchi, how about misleading the extant is very little information on his youth. It is highly likely that in 1510, after the death of Bianchi, he visited Mantua, where he studied the works of Mantegna, and that it also had the influence of Lorenzo Lotto. With certainty we know that in 1514 he was again in Correggio, where the following year he graduated from execution for the local Minorite monastery "Madonna with St Francis", who is now in the Dresden gallery, and resembling the appearance of their groups in the manner of the XV century FR. Francia, L. Costa and Bianchi, but with more freedom of movement, vividness of conception, accuracy of drawing, the power and harmony of paints. Proceeding from this, the historically recognized genuine works of Correggio, the latest art criticism ascribes to this artist the next "Madonna" preceding Dresden: G. Frizzoni in Milan, the Uffizi gallery, in Florence and in the city museums of Pavia and Milan. The time of Allegri in Correggio (until 1516) include: "the Flight into Egypt" (in the Uffizi gallery), "Madonna with St. Joseph and St. Jerome" (Kamponchgthom the meeting) and the "Four saints" (Lord Ashburton). Around the same time (after 1514), he probably participated with other artists in the execution of the frescoes of the Palace in novellara, by order of the widow, Giampietro Gonzaga. In 1538 he moved to Parma, where he received from the educated in the humanist spirit of the abbess m-RYA San Paolo a Commission to decorate one of its chambers with frescoes of mythological content. Fulfilling this order, he painted over the fireplace of Diana the huntress, and in the lunettes of cupids playing with hunting facilities, children's figures, which were already expressed the beauty and grace of his brush. Returning for a short time in Correggio, where he married in 1519, and the following year took up new orders at Parma, of which the most remarkable for the execution of the frescoes of the dome and pendentives in CRK. St. John the Evangelist (part of the "Coronation of the virgin" has been removed from its original location and stored in the Parma library). These murals represent the first consistent implementation of the new principle in plafond painting of the domes: the artist removes material, architectural barriers, and the viewer located at the bottom, under the dome, depicted the action seem as if what is happening under the open sky. Simultaneously with this work Correggio performed the fresco "Annunciation" (in CRK. St. Maria Annunziata) and the "Madonna della Scala" (now in the Parma Pinacoteca; original was placed over the city gates). The success of these works was so great that the Chapter of Parma Cathedral in 1522, commissioned Correggio to decorate with frescoes the cupola and choir of this Church. The frescoes of the choir were not done in the dome the artist depicted (1526-1530), was "Taking the virgin into heaven", — a work, though not distinguished by correctness of drawing, however, may be considered, with the technical and scenic side, a miracle of art. At the present time it is injured to such an extent that it is difficult to form an idea about its original charm (original sketch of this work is in the Imperial Hermitage in St. Petersburg). Of the paintings on religious themes, written because in the early days of its activities, the first place should be given "the Betrothal of St. Catherine", in which a complete image is expressed with captivating grace and tenderness of his brush. A copy of the painting is in the Naples Museum, which contains also a graceful Madonna of Correggio, known as "Gypsy" (La Zingarella) and "Madonna with rabbit". To this period belong "the Christ is to Mary Magdalene in the form of a gardener" (in the Madrid Museum) and "the Madonna of the basket" (in the London national gallery). Shortly after 1520 the style of K. developed completely: his hand became surprisingly tender and yet juicy, and the light and shade reached the top of perfection began to fill the paintings with ethereal, magical glitter, bright colors and extraordinary transparency of shadows. By this time: "Madonna nursing Baby bust" (in the Imperial Hermitage and in the Budapest gallery), "Christ in Gethsemane" (Aplahoue), "Martyrdom of St. Placide" and "the entombment" (in the Parma Pinacoteca). The artist's genius stands more fully in his famous paintings of the Dresden gallery: "Nativity of Christ" or so. "Night" (for CRK. St. prosper of Reggio); "Madonna with St. Sebastian" (performed in Modena Cathedral) and the "Madonna with St George". With these three pearls of painting can compete karegyesa "Madonna with St. Jerome" (in the Parma Pinacoteca), nicknamed "a Day" due to the inimitable brilliance of the warm, Sunny color; "Jupiter and Antiope" (Louvre Museum, Paris), "School of Cupid" (the national gallery, London), "Ganymede", "Jupiter and IO" (Vienna), "Danae" (Borghese gallery, Rome), "Leda" (Berlin gallery) — works not only remarkable for its technical perfection, but captivating in its beauty and naive sensuality. Two allegorical image: "Triumph of virtue" and "Vice, driven by passion", gouache and located at the Louvre Museum, are typical of the past time activities of Correggio. Losing his wife, he returned to Correggio in 1530, where he graduated from century away from the bustle of light and honors. He created a unique style found followers not so much among artists, directly followed by the master, how many among the subsequent generations. If the composition of Correggio can sometimes blame the randomness of the comparison, if the motives of his movements are not always good and natural, and the types of conditional goals, in your Cutesy smug smile, — all these faults are redeemed by the great dignity inherent in his works and in which he had no rivals — namely, a breathtaking light that penetrates the shadows and makes them transparent. This art of light and shade, together with the inimitable ability to convey the sensuous beauty of the young life of Correggio took place in the small group of luminaries of the first magnitude on the horizon of Italian art.