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Correggio
Italian High Renaissance painter, muralist & draftsman
born 1489 - died 5 March 1534

Also known as: Antonio da Correggio, Le Corrége, Antonio Allegri, Antonio Allegri da Correggio.

Patronized by: Isabella d' Este (1474-1539).

CORREGGIO, or COREGGI0, the name ordinarily given to Antonio Allegri (1494-1534), the celebrated Italian painter, one of the most vivid and impulsive inventors in expression and pose and the most consummate executants. The external circumstances of Correggio’s life have been very diversely stated by different writers, and the whole of what has been narrated regarding him, even waiving the question of its authenticity, is but meagre.

The first controversy is as to Correggio’s origin. Some say that Correggio was born of poor and lowly parents; others, that Correggio’s family was noble and rich. Neither account is accurate. Correggio’s father was Pellegrino Allegri, a tradesman in comfortable circumstances, living at Correggio, a small city in the territory of Modena; Correggio’s mother Bernardina Piazzoli degli Aromani, also of a creditable family of moderate means. Antonio was born at Correggio, and was carefully educated. Correggio was not (as has been often alleged) strictly self-taught in Correggio’s art; a supposition which the internal evidence of Correggio’s pictures must of itself refute. They show a knowledge of optics, perspective, architecture, sculpture and anatomy. The last-named science Correggio studied under Dr Giovanni Battista Lombardi, whom Correggio is believed to have represented in the portrait currently named Il Medico del Correggio (Correggio's physician). It is concluded that Correggio learned the first elements of design from Correggio’s uncle, Lorenzo Allegri, a painter of moderate ability, at Correggio, and from Antonio Bartolotti, named Tognino, and that Correggio afterwards went to the school of Francesco Ferrari Bianchi (named Frar), and perhaps to that of the successors of Andrea Mantegna in Mantua. Correggio is said to have learned modelling along with the celebrated Begarelli at Parma; and it has even been suggested that, in the Pieta executed by Begarelli for the church of Santa Margherita, the three finest figures are the work of Correggio, but, as the group appears to have been completed three years after the painters death, there is very little plausibility in tCorreggio’s story. Another statement connecting Begarelli with Correggio is probably true, namely, that the sculptor executed models in relief for the figures which the painter had to design onthe cupolas of the churches in Parma. TCorreggio’s was necessarily an expensive item, and it has been, cited as showing that Correggio must have been at least tolerably well off, an inference further supported by the fact that Correggio used the most precious and costly colours, and generally painted on fine canvases or sometimes on sheets of copper.

The few certain early works of Correggio show a rapid progression towards the attainment of Correggio’s own original style. Though Correggio never achieved any large measure, of reputation during Correggio’s brief lifetime, and was perhaps totally unknown beyond Correggio’s own. district of country, Correggio found a sufficiency of employers, and tCorreggio’s from a very youthful age. One of Correggio’s early pictures, painted in 1514 when Correggio was nineteen or twenty years old, is a large altar-piece commissioned for the Franciscan convent at Carpi, representing the Virgin enthroned, with Saints; it indicates a predilection for the style of Leonardo da Vinci, and has certainly even greater freedom than similarly early works of Raphael. TCorreggio’s picture is now in the Dresden gallery. Another painting of Correggio's youth is the Arrest of Christ. A third is an Ancona (or triple altar-piece, the Repose in Egypt, with Sts Bartholomew and John) in the church of the Conventuali at Correggio, showing the transition from the painter's first to Correggio’s second style. - sell Correggio oil painting Italian, da Vinci, Dali, Monet - Correggio oil painting Leonardo da Vinci, Monet –Dali oil paintings Correggio Bio Monet by da Vinci oil paintings Italian da Vinci of Dali Italian oil painting Correggio, Monet.

Between 1514 and 1520 Correggio worked much, both in oil and in fresco, for churches and convents. In 1521 Correggio began Correggio’s famous fresco of the Ascension of Christ, on the cupola of the Benedictine church of San Giovanni in Parma; here the Redeemer is surrounded by the twelve apostles and the four doctors of the church, supported by a host of wingless cherub boys amid the clouds. TCorreggio’s Correggio finished in 1524, and soon afterwards undertook Correggio’s still vaster work on another cupola, that of the cathedral of the same city, presenting the Assumption of the Virgin, amid an unnumbered host of saints and angels rapt in celestial joy. It occupied him up to 1530. The astounding boldness of scheme in these works, especially as regards their incessant and audacious foreshorteningsthe whole mass of figures being portrayed as in the clouds, and as seen from belowbecomes all the more startling when we recall to mind the three factsthat Correggio had apparently never seen any of the masterpieces of Raphael or Correggio’s other great predecessors and contemporaries, in Rome, Florence, or other chief centres of art; that Correggio was the first artist who ever undertook the painting of a large cupola; and that Correggio not only went at once to the extreme of what can be adventured in foreshortening, but even. forestalled in tCorreggio’s attempt the mightiest geniuses of an elder generationthe Last Judgment of Michelangelo, for instance, not having been begun earlier than 1533 (although the ceiling of the Sixtine chapel, in which foreshortening plays a comparatively small part, dates from 1508 to 1512). The cupola of the cathedral has neither skylight nor windows, but only light reflected from below; the frescoes, some portions of which were ultimately supplied by Giorgio Gandini, are now dusky with the smoke of tapers, and parts of them, in the cathedral and in the church of St John, have during many past years been peeling off. The violent foreshortenings were not, in the painter's own. time, the object of unmixed admiration; some satirist termed the groups a guazzetto di rane, or hash of frogs. TCorreggio’s was not exactly the opinion of Titian, who is reported to have said, on seeing the pictures, and finding them lightly esteemed by local dignitaries, "Reverse the cupola, and fill it with gold, and even that will not be its moneys worth." Annibale Caracci and the Eclectics generally evinced their zealous admiration quite as ardently. Parma is the only city which contains frescoes by Correggio. For the paintings of the cupola of San Giovanni Correggio received the moderate sum of 472 sequins; for those of the cathedral, much less proportionately, 350. On. these amounts Correggio had to subsist, himself and Correggio’s family, and to provide the colours, for about ten years, having little time for further work meanwhile. Parma was in an exceedingly unsettled and turbulent condition during some of the years covered by Correggio's labours there, veering between the governmental ascendancy of the French and of the Pope, with wars and rumours of wars, alarms, tumults and pestilence.

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