Italian 1489-1534 Correggio Locations Italian painter and draughtsman. Apart from his Venetian contemporaries, he was the most important northern Italian painter of the first half of the 16th century. His best-known works are the illusionistic frescoes in the domes of S Giovanni Evangelista and the cathedral in Parma, where he worked from 1520 to 1530. The combination of technical virtuosity and dramatic excitement in these works ensured their importance for later generations of artists. His altarpieces of the same period are equally original and ally intimacy of feeling with an ecstatic quality that seems to anticipate the Baroque. In his paintings of mythological subjects, especially those executed after his return to Correggio around 1530, he created images whose sensuality and abandon have been seen as foreshadowing the Rococo. Vasari wrote that Correggio was timid and virtuous, that family responsibilities made him miserly and that he died from a fever after walking in the sun. He left no letters and, apart from Vasari account, nothing is known of his character or personality beyond what can be deduced from his works. The story that he owned a manuscript of Bonaventura Berlinghieri Geographia, as well as his use of a latinized form of Allegri (Laetus), and his naming of his son after the humanist Pomponius Laetus, all suggest that he was an educated man by the standards of painters in this period. The intelligence of his paintings supports this claim. Relatively unknown in his lifetime, Correggio was to have an enormous posthumous reputation. He was revered by Federico Barocci and the Carracci, and throughout the 17th and 18th centuries his reputation rivalled that of Raphael.  Related Paintings of Correggio :. | Madonna and Child with the Young Saint John | Details of the cupola with the apostles Philip and Thaddeus,James the Less and Thomas,Andrew and Jomes the Great | Madona with Saint jerome | Wedding of Saint Catherine,details | Lunette with St.John the Evangelist |
Related Artists:
Adriaen van ostade
Dutch Baroque Era Painter, 1610-1685 Painter, draughtsman and etcher. According to Houbraken's rather unreliable biography, he was a pupil concurrently with Adriaen Brouwer of Frans Hals in Haarlem. Hals influenced him very little, whereas Brouwer, who was described as 'known far and wide' as early as 1627, had a decisive influence on the evolution of Adriaen van Ostade's always idiosyncratic portrayal of peasant life. The first documentary mention of Adriaen van Ostade as a painter is in 1632 (Schnackenburg, 1970). Most of his paintings are signed and dated, the earliest firmly dated example being the Peasants Playing Cards
Alfred Bastien
(16 September 1873e7 June 1955) was a Belgian artist, academic and soldier. He attended the Academie Royale des Beaux-Arts in Ghent, where he studied with Jean Delvin. He then enrolled in the Academie Royale des Beaux-Arts in Brussels, where he studied with Jean-François Portaels. He won the Prix Godecharle there in 1897. He traveled to Paris, where he enrolled in the Ecole des Beaux-Arts in Paris. He was in Paris when hostilities broke out in what would become the First World War.
Reinier Nooms
(c. 1623 - c. 1667), also known as Zeeman (Dutch for "sailor"), was a maritime painter known for his highly detailed paintings and etchings of ships. Nooms was born and died in Amsterdam. He started painting and drawing in his later years, following a rough, drunken life as a sailor. It is not known how he acquired his skill as an artist. His knowledge of ships is evident from his work: ships and foreign locations are depicted with high accuracy and in great detail, and served as an example to other artists of how to depict ships. A widely traveled artist, Nooms visited Paris, Venice and possibly Berlin, and also journeyed along the coast of North Africa. A favourite subject of his paintings were the Dutch victories in the Anglo-Dutch Wars. For instance, he painted the Amalia, the flagship of admiral Maarten Tromp, before the Battle of the Downs in 1639. This painting now hangs in the National Maritime Museum in Greenwich, UK. His painting of the Battle of Leghorn in 1653 is in the collection of the Rijksmuseum in Amsterdam. In the 1650s, Nooms made a series of etchings of ships and topographical views characterized by a high degree of detail and precision. These etchings served as an example to many artists. The 19th century French etcher Charles Meryon was highly influenced by Noom, whose etchings of Paris cityscapes inspired Meryon to his own series of Paris etchings. Meryon even dedicated some of this work to Nooms in poetic form.