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 :. | Martyrdom of Four Saints | Detail of an oval with a putto embracing a dog | Die Mystische Hochzeit der Hl. Katharina von Alexandrien | Wedding of Saint Catherine,details | The Abduction of Ganymede (mk08) |
Related Artists:
NIEULANDT, Adriaen van
Flemish/Dutch painter (b. 1587, Antwerpen, d. 1658, Amsterdam).
IBBETSON, Julius Caesar
English Painter, 1759-1817 English painter, printmaker and writer. The son of a clothier, he was apprenticed to John Fletcher, a ship painter in Hull; in 1775 Ibbetson became a scene-painter there. In 1777 he moved to London, where he worked as a scene-painter and picture restorer. He married about three years later. From 1785 he exhibited landscapes, genre scenes and portraits at the Royal Academy. In 1787-8 Ibbetson was personal draughtsman to Col. Charles Cathcart on the first British Mission to Beijing, a voyage that included visits to Madeira, the Cape of Good Hope and Java. His watercolour False Bay, Cape of Good Hope (London, V&A), made on this journey, shows a picturesque roughness of foliage and rustic staffage adapted from his English landscape style. Cathcart's death forced Ibbetson to return to England (he exhibited an oil painting, untraced, of the Burial of Col. Cathcart in Java at the Royal Academy in 1789); thereafter he lived by painting landscape oils and watercolours, the subjects culled from his frequent tours. He painted occasional portraits throughout his career (e.g. Young Man, 1790; Leeds, Temple Newsam House) and contributed to John Boydell's Shakespeare Gallery (e.g. Scene from 'The Taming of the Shrew', untraced, see Waterhouse, p. 192). In 1789 he stayed with John Stuart, 3rd Earl of Bute, at Cardiff Castle and visited the Isle of Wight in 1790. In 1792 he toured Wales and the surrounding area with the painter John 'Warwick' Smith and his companion Robert Fulke Greville, resulting in the publication of his book of engravings, A Picturesque Guide (1793). His oil painting of Aberglasyn: The Flash of Lightning (Leeds, C.A.G.) evokes the sublimity of the mountainous Welsh terrain; the drama of the storm over Aberglasyn is conveyed by thick impasto and strong chiaroscuro, a way of handling paint that Ibbetson learnt from copying 17th-century Dutch masters while working for a London dealer named Clarke during the late 1770s and early 1780s.
George French Angas
(1844-1932), was a portrait painter. was an English explorer, naturalist and painter. He was the eldest son of George Fife Angas, prominent in the establishment of the new colony of South Australia. Despite showing remarkable talent in drawing, he was placed in a London business house by his father. He left on a tour of Europe and in 1842 published his first book, "Rambles in Malta and Sicily". As a result of this experience, he turned his back on the world of commerce, and directed his training towards a study of natural history, anatomical drawing and lithography. Embarking on his travels, he was soon to find his acquired skills extremely useful. Angas painted some of the earliest views of South Australia. Arriving in Adelaide in January 1844, he joined Sir George Grey on an expedition into the interior. He soon began an extensive series of journeys to the Murray River lakes, Barossa Valley, Fleurieu Peninsula and the South East, presenting his impressions of the newly established colony ?C its inhabitants, landscape, and its flora and fauna. Following a trip to New Zealand he returned to South Australia in 1845 and travelled to Port Lincoln. In the following year he returned for a short while to England. His next journey in 1846 was to South Africa, where he spent two years in Natal and the Cape, working on a series of drawings and watercolours which were published in 1849 as The Kafirs Illustrated. In this book were views of Cape Town, Durban, Wynberg, Genadendal, Paarl and Somerset West and plates depicting the local ethnic groups such as Hottentots, Malays and Zulus. He married Alicia Mary Moran in 1849, the marriage producing four daughters. In 1853 he was appointed to a position at the Australian Museum in Sydney, eventually becoming Director and staying a total of seven years. He was in Sydney when gold was first discovered near Bathurst, New South Wales. Travelling there to record the gold diggings he executed a number of drawings of the scenes that he found. These were published in Sydney and subsequently in London. Angas returned to South Australia in 1860, and finally went back to England in 1863.