Antonio da Correggio

• Scène allégorique

  Louvre

  Paris, France

  14 works

  

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• Madonna of the Basket

  National Gallery

  Trafalgar Square, United Kingdom

  8 works

  

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• Apostles and Angels at the Assumption (copy of the fresco in the cupola of Parma Cathedral)

  Victoria and Albert Museum

  Cromwell Road, United Kingdom

  9 works

  

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• Madonna and Child

  National Gallery of Art

  Washington, D.C., United States

  5 works

  

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• Madonna and Child with a Rabbit

  Glasgow Museums Resource Centre

  Nitshill, United Kingdom

  4 works

  

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• Madonna and Child, "Zingarella"

  Museo di Capodimonte

  Palace of Capodimonte, Italy

  4 works

  

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• How did antonio da correggio die?+

  Antonio da Correggio died in 1534 at the age of 45.
• What is Antonio da Correggio's most famous work?+

  Antonio Allegri, called Correggio, was an innovative painter working in Parma. Although he may have studied Leonardo's techniques of light and shade, much about his artistic education remains unknown. He is now considered an important influence on later Mannerist and Baroque artists. Correggio's most famous works include religious paintings and illusionistic ceiling frescoes. His painting *The Holy Night* (circa 1530) depicts the birth of Christ. The painting uses light to direct the viewer's eye. Light radiates from the infant Christ, illuminating Mary's face and dazzling a servant. Another celebrated work is the fresco *Assumption of the Virgin* (circa 1526) inside the dome of Parma Cathedral. The fresco creates a dizzying effect of swirling figures, meant to give the sensation of looking into Heaven. Correggio also painted mythological subjects, such as *Leda and the Swan* (circa 1531/32) and *Jupiter and Io*.
• What perspective technique was antonio da correggio known for?+

  Antonio da Correggio was known for illusionistic perspective, which he pushed further in each of his dome paintings.
• What should I know about Antonio da Correggio's prints?+

  Antonio da Correggio (born Antonio Allegri in 1489) was known as a painter of frescoes, particularly at Parma. Printmakers and publishers produced works after his paintings, but there is little evidence that Correggio himself was an active printmaker. Printmakers reproduced Correggio's celebrated frescoes, such as those in the Monastery of S. Paolo, Parma. These prints document the circulation of Correggio's ideas among a wider audience. Printmakers, engravers, and publishers active in Venice and elsewhere disseminated prints after paintings by Correggio. Some of these prints were produced as single sheets, and others were incorporated into books. Studying these prints provides insight into the reception and interpretation of Correggio's work beyond the immediate sphere of his original paintings.
• What techniques or materials did Antonio da Correggio use?+

  Antonio da Correggio employed a range of techniques and materials common to Renaissance painters, with some adaptations. Venetian artists, including Correggio, had access to a wide array of pigments through the city's role as a centre for trade in these materials. Pigments like azurite blue came from Germany and Hungary, carmine red from Poland, and verdigris green from the Netherlands. Correggio would have prepared his painting surface with a ground layer, often gesso. The function of the ground changed over time; it initially served an optical function within the colour scheme, helping to lighten the paint application by acting as a middle tone between shadow and highlight. Like other Venetian painters, Correggio used underdrawings to plan his compositions. These underdrawings could be transferred to the canvas using cartoons. He also made use of three-dimensional models, such as scaled-down wax or plaster reproductions, to aid in developing his compositions.
• What was Antonio da Correggio known for?+

  Antonio da Correggio (circa 1489-1534) was an Italian painter who spent his career in Parma, a smaller city away from the artistic centres of Italy. He is now admired for his innovative use of colour and light, which had a considerable influence on later painters. Correggio may have studied the techniques of Leonardo da Vinci's followers, particularly their handling of light and shade. He used colour and light to create balance and guide the viewer's eye. His celebrated works include religious scenes, such as 'The Holy Night' (circa 1530), and mythological subjects, for example, 'Venus, Satyr, and Cupid' (1524/25). Correggio's illusionistic ceiling frescoes, like 'The Assumption of the Virgin' in Parma Cathedral, are also highly regarded. These paintings display his skill in foreshortening and create a sense of awe. He was a precursor to both Mannerism and the Baroque.
• When did Antonio da Correggio live and work?+

  Antonio da Correggio (also known as Antonio Allegri) was born circa 1489 in Correggio, near Modena. He died in 1534. Correggio spent most of his working life in Parma, becoming one of the city’s most outstanding painters. After training, probably in Bologna and Ferrara, he developed his own style, drawing on Leonardo and 16th-century Venetian painting. His innovations in handling light and colour were of the utmost importance. He created the illusion of open walls and ceilings. Examples of his work include the cupola frescoes in San Giovanni Evangelista (Christ ascending to Heaven, 1521-1523) and in Parma Cathedral (Ascension of Christ in Glory, 1526-1530). He also painted mythological scenes such as Zeus and Antiope (circa 1524/25) and Leda and the Swan (circa 1531/32).
• Where can I see Antonio da Correggio's work?+

  Paintings by Antonio da Correggio can be found in numerous museum collections and private collections across Europe and North America. In Corsica, the Musée Fesch in Ajaccio holds Midas at the Source of the Pactolus. In the United States, you can find Correggio's work at The Baltimore Museum of Art (Moses Sweetening the Bitter Waters of Marah), the Museum of Fine Arts in Boston (Mars and Venus, Achilles Among the Daughters of Lycomedes), the Fogg Art Museum at Harvard University in Cambridge, Massachusetts (The Birth of Bacchus, The Holy Family with the Bath Tub), The Art Institute of Chicago (Landscape with St. John on Patmos), The Detroit Institute of Arts (Diana and Endymion, The Holy Family), The Wadsworth Atheneum in Hartford (The Crucifixion), and the Nelson Gallery-Atkins Museum in Kansas City (The Triumph of Bacchus, a copy after Poussin). In Europe, works can be viewed at the Staatliche Museen in Berlin (Armida Carrying Off Rinaldo, Landscape with Juno, Argus, and Io, Self-Portrait, Landscape with St. Matthew, The Nurture of Jupiter, Phaëthon Begging the Chariot of Apollo), the Barber Institute of Fine Arts, University of Birmingham (Tancred and Erminia), the Musée des Beaux-Arts in Caen (Venus with the Dead Adonis), the Musée Condé in Chantilly (The Annunciation, The Holy Family in the Temple, Landscape with Two Nymphs and a Snake, The Massacre of the Innocents, Numa Pompilius and the Nymph Egeria, Theseus Finding His Father’s Arms, The Youth of Bacchus), and the Devonshire Collection in Chatsworth, Derbyshire (The Arcadian Shepherds, The Holy Family with Six Putti).
• Where was Antonio da Correggio from?+

  Antonio Allegri, called Correggio, was from the town of Correggio, near Modena. He was born there circa 1489. Later in life, he worked mostly in Parma, a small northern Italian town; he was one of the city’s outstanding painters. He may have had opportunities to study works by Leonardo's students in neighbouring cities of northern Italy. There, he would have learned about Leonardo's handling of light and shade. Correggio then developed new effects in this area. His innovations with colour and light influenced later painters. One of his greatest works is a fresco inside the dome of the church of St John the Evangelist, Parma. Another is in Parma Cathedral. He died in Correggio in 1534.
• Who did Antonio da Correggio influence?+

  Antonio da Correggio (1489?-1534) was an innovative painter working outside the major artistic centres of Italy. He spent his career in Parma, yet his techniques had a considerable effect on those who followed. Correggio explored new possibilities with light and colour. He may have studied the work of Leonardo's students, learning about Leonardo's treatment of light and shade. Correggio then developed new effects that influenced later painters. He exploited the idea that colour and light could balance forms and direct the viewer's eye. His work was imitated in subsequent centuries. Later in the sixteenth century, artists from northern Italy rose to prominence and created the Baroque style. Though influenced by Raphael and Michelangelo, they were also indebted to Titian. One such artist was Annibale Carracci (1560-1609). Carracci visited Venice in 1585, and his paintings show Titian's influence. Carracci's Venus Adorned by the Graces displays an atmospheric setting, subtle light, corpulent bodies, and a feathery setting that recall Titian's work. Carracci, along with Caravaggio (1571-1610), helped initiate the Baroque style.
• Who influenced Antonio da Correggio?+

  Antonio da Correggio (circa 1489-1534) developed his style after training, possibly in Bologna and Ferrara. His work reflects the influence of Leonardo da Vinci and early 16th-century Venetian painting, particularly in his handling of colour and light. He may have studied works by Leonardo's students in northern Italian cities. Correggio's innovations proved important to European art. Correggio was also stimulated by Mantegna's treatment of light, and Leonardo's work in Milan. In frescoes such as "The Ascension of Christ in Glory", Correggio did away with upper margins, so the frescoes cover the entire cupola. In mythological scenes, Correggio abandoned outlines, using colour and light to balance forms. He transformed High Renaissance structure, based on the opposition of statics and dynamics, to asymmetry and movement.
• Who is antonio da correggio?+

  Antonio da Correggio was an Italian painter born Antonio Allegri in Correggio, near Reggio Emilia, around 1489. He is known for his sfumato technique and illusionistic perspective.