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 :. | Abduction of Ganymede | Jupiter and Io | Details of the cupola with the apostles Philip and Thaddeus,James the Less and Thomas,Andrew and Jomes the Great | Leda1 | Rest on the Flight into Egypt with Saint Francis |
Related Artists:
Giovanni Sodoma
1477-1549 Giovanni Sodoma Galleries
Mednyanszky, Laszlo
Hungarian, 1852-1919 Ladislaus Josephus Balthasar Eustachius Mednyenszky was a Hungarian painter in the Impressionist tradition. Despite an aristocratic background, he spent most of his life moving around Europe working as an artist. Mednyenszky spent considerable periods in seclusion but mingled with people across society - in the aristocracy, art world, peasantry and army - many of whom became the subjects of his paintings. His most important works depict scenes of nature and poor, working people, particularly from his home region in Upper Hungary. Medny nszky was born in Beck, the Kingdom of Hungary (now Beckov in Slovakia), to Eduard Mednyenszky and Maria Anna Mednyenszky, (nee Szirmay) both from landowning families. Mednyenszky's family moved in 1861 to the chateau of his grandfather, Baltazer Szirmay, at Nagyőr (Strežky), near Szepesbela (Spišsk Bele) in north-eastern Hungary. This was to be the setting for many of his works. Medny nszky met the Austrian artist Thomas Ender in 1863 when Ender visited the chateau at Nagyőr. Ender took an interest in Mednyenszky's early efforts at drawing, lending his assistance to improve Mednyenszky's skills. Mednyenszky attended a grammar school in K??smerk (Kežmarok), near his home, then attended the Akademie der Bildenden Kenste (Academy of Fine Arts) in Munich in 1872 - 1873. Dissatisfied in Munich, he moved to Paris to attend the École des Beaux-Arts. After the death of his professor, Isidore-Alexandre Augustin Pils, in 1875, Mednyenszky left the École and began practicing independently from Montmartre. Mednyenszky returned to Nagyőr after 1877 to continue painting, and subsequently travelled widely in Europe, between his childhood homes in Upper Hungary and Budapest, Vienna, Paris and beyond. Mednyenszky visited the Szolnok artists' colony in the autumn of 1877 and Italy in 1878. His mother died in 1883, after which he lived in seclusion in Nagyőr. He returned to Nagyőr in 1887 to help deal with an outbreak of cholera but soon fell ill himself, with pneumonia. He spent much of 1889-1892 in Paris and returned regularly to Nagyőr until 1900.
Joachim von Sandrart
(12 May 1606 - 14 October 1688) was a German Baroque art-historian and painter, active in Amsterdam during the Dutch Golden Age. Sandrart was born in Frankfurt, but the family originated from Mons. According to Houbraken (who used his Teutsche Akademie as a primary source), he learned to read and write from the son of Theodor de Bry, Johann Theodoor de Brie and his associate Matthäus Merian, but at age 15 was so eager to learn more of the art of engraving, that he walked from Frankfurt to Prague to become a pupil of Gillis Sadelaar (also known as Aegidius Sadeler of the Sadeler family). Sadelaar in turn urged him to paint, whereupon he travelled to Utrecht in 1625 to become a pupil of Gerrit van Honthorst, and through him he met Rubens when he brought a visit to Honthorst in 1627, to recruit him for collaboration on part of his Marie de' Medici cycle. Honthorst took Sandrart along with him when he travelled to London. There he worked with Honthorst and spent time making copies of Holbein portraits for the portrait gallery of Henry Howard, 22nd Earl of Arundel. Making all of those copies only served to arouse more curiosity in the young adventurer, and in 1627 Sandrart booked a passage on a ship from London to Venice, where he was welcomed by Jan Lis (whose Bentvueghels bent name was "Pan"), and Nicolaas Ringnerus. He then set out for Bologna, where he was met by his cousin on his father's side Michael le Blond, a celebrated engraver. With him, he crossed the mountains to Florence, and from there on to Rome, where they met Pieter van Laer (whose bent name was "Bamboccio"). Sandrart became famous as a portrait-painter. After a few years he undertook a tour of Italy, traveling to Naples, where he drew studies of Mount Vesuvius, believed to be the entrance to the Elysian fields described by Virgil. From there he traveled to Malta and beyond, searching for literary sights to see and paint, and wherever he went he paid his way by selling portraits. Only when he was done traveling did he finally return to Frankfurt, where he married Johanna de Milkau. Afraid of political unrest and plague, he moved to Amsterdam with his wife in 1637.