Word: correggio
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...Europe comparable to youth in the life of an individual. It had all youth's love of finery and of play." This is true of its art, and never more so than when the work itself was done by a young, aspiring painter. Such is the case with Correggio's youthful masterpiece (opposite), done when the artist was barely...
...purchase the painting, the Art Institute of Chicago had to pay a half million dollars and considers it the most important acquisition since El Greco's Assumption of the Virgin in 1906. Actually, any pricing of Correggio is arbitrary; in his 40 years, he painted only 40 well authenticated works, and until Chicago's purchase only five were owned by U.S. museums.* And, although Connoisseur Berenson judged Correggio "too sensuous, and therefore limited," the artist has remained astonishingly popular through the centuries...
...Correggio was incredibly accomplished for a man who lived far from Florence and Rome. Born Antonio Allegri around 1494 and called after the town of his birth, he may never have seen the art capitals of his time. Yet he was thoroughly a man of his age, more influenced by the classical traditions of Greece and Rome than by the devotional art of the Middle Ages. The alabaster flesh relates to marble rather than to the painted wood of medieval altarpieces. More human than divine, Correggio's early masterpiece is both sensual and innocent. Alive with the fresh greenness...
Historian's Notes. The drawings tell interesting tales of art history. Correggio's Two Putti and two companion studies furnish proof that he was responsible for conceiving the decoration in an arch in Parma's church of St. John the Evangelist. Two Studies of a Man Suspended by his Leg was Andrea del Sarto's preparation for an unappetizing commission: a painting for public display of some traitors who were to be shown, according to custom, hanging by one leg. One feature of the collection is a number of scenery designs done by Inigo Jones; some...
...Mona Lisa in broad daylight by stripping it from its frame and tucking it under his shirt; he was caught two years later only because he tried to sell it to an honest Florence art dealer. Three centuries earlier, the Duke of Modena became so enraptured with Correggio's Virgin with St. Magdalen and St. Lucy that he had it stolen from the church of Albinea, and it has never been found. In 1876, Gainsborough's portrait of Georgiana, Duchess of Devonshire vanished from the sales rooms of London's famed art dealers Agnew & Co., was returned...