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Madonna and Child in Glory Correggio c. 1520...
At the Uffizi sice 1753.
CORREGGIO
Antonio Allegri da Correggio, August 1489 – March 5, 1534, usually known as Correggio, was the foremost painter of the Parma school of the Italian Renaissance, who was responsible for some of the most vigorous and sensuous works of the 16th century. In his use of dynamic composition, illusionistic perspective and dramatic foreshortening, Correggio prefigured the Rococo art of the 18th century.
Correggio was remembered by his contemporaries as a shadowy, melancholic and introverted character, traits possibly conditioned by his birth into a large and poor family.
Correggio is an enigmatic and eclectic artist, and it is not always possible to identify a stylistic link between his paintings. He appears to have emerged out of no major apprenticeship, and to have had little immediate influence in terms of apprenticed successors, but his works are now considered to have been revolutionary and influential on subsequent artists. A half-century after his death Correggio's work was well known to Vasari, who felt that he had not had enough "Roman" exposure to make him a better painter. In the 18th and 19th centuries, his works were often remembered in the diaries of foreign visitors to Italy, which led to a reevaluation of his art during the period of Romanticism. The flight of the Madonna in the vault of the cupola of the Cathedral of Parma inspired numerous scenographical decorations in lay and religious palaces during those centuries.
Corregio's illusionistic experiments, in which imaginary spaces replace the natural reality, seem to prefigure many elements of Mannerist and Baroque stylistic approaches. In other words, he appears to have fostered artistic grandchildren, despite having no direct disciples outside of Parma, where he was influential on the work of Giovanni Maria Francesco Rondani, Parmigianino, Bernardo Gatti, and Giorgio Gandini del Grano. His son, Pomponio Allegri became a painter.
The Mystic Marriage of St. Catherine (c. 1526-27), Correggio's most important contribution to the High Renaissance art, exhibits Leonardo's pronounced influence on his early style.
In addition to the influence of Costa, there are echoes of Mantegna's style in his work, and a response to Leonardo da Vinci, as well.
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