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 :. | Venus and Cupid with a Satyr | Virgin and Child with an Angel | Madonna della Cesta | Deposition | Jupiter and Io typifies the unabashed eroticism |
Related Artists:
Abraham Fischer
1850 ?C 1913,was the sole Prime Minister of the Orange River Colony in South Africa. He was originally a lawyer in Cape Colony, joining the bar in 1875. He became vice-president of the Orange Free State's volksraad in 1893 and a member of the executive council in 1896. During the Boer War he went to Europe to solicit support for the Boers, returning in 1903 to practice law in the newly-formed Orange River Colony. Continuing to promote the Boer cause, he helped form the Oranje Unie party in May 1906 and became its chairman; the party won the majority of seats in the colony's first elections that were held in November 1907. On November 27, he was chosen as Prime Minister, and stayed in that position until it ceased to exist with the union of May 31, 1910. He then joined the cabinet of the Union of South Africa.
Bento Jose Rufino Capinam
painted Christ Wearing the Crown of Thorns in 1791-1874
Peale, Sarah Miriam
American Painter, 1800-1885 Painter, daughter of James Peale. The most notable of James Peale's painting daughters, she also studied with her uncle Charles Willson Peale and her cousin Rembrandt Peale, from whom she developed her talent for colour and precision in details. As studio assistant to her father, she occasionally introduced into his work bright and intricate fabrics. Her career began in 1817 with the exhibition of Flowers at the Pennsylvania Academy of the Fine Arts. In the 1820s she painted in Baltimore and Philadelphia; in 1824 she was elected to the Pennsylvania Academy. From 1831 to 1846 she maintained her studio in Baltimore where she was a popular portrait painter, producing unpretentious but intelligent and occasionally romantic portraits characterized by a fine concern for materials, as in Mrs Perry Eccleston Noel (c. 1822; Baltimore, Mus. & Lib. MD Hist.). Her sitters included such prominent politicians as Daniel Webster (1842; St Louis, MO Hist. Soc. Mus.) and Abel Park Upshur (1842; Baltimore, Mus. & Lib. MD Hist.). In 1847 Sarah moved to St Louis, MO, where for 32 years she was in great demand. From 1859 her still-lifes won prizes at the St Louis fairs; they were loosely painted works different from the tightly controlled table-top pieces of her father and sister. Sarah's portraiture also changed, from the elegant, precise Neo-classicism learnt from her cousin Rembrandt to a looser,