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Antonio Da Correggio - Mythological Paintings
Correggio had other patrons besides the monks and ecclesiastic devotees for whom he painted his beautiful Madonnas and exquisite, though sensuous, Magdalens. Towards the middle of his life he began to be much sought after as a decorator of lordly palaces.
Art Of Correggio
CORREGGIO was an artist unique of his kind. He belonged to no special school, but formed his own peculiar style. The cause of this spontaneity may partly be accounted for by his narrow sphere and isolation from the great art centres, for he was a local genius, little known and little knowing beyond the limits of Correggio, Parma, and Modena.
Antonio Da Correggio - Design And Composition
Correggio's drawing appears to be formed on one principle—to avoid angles, and keep only to the most graceful curves ; his child-angels have rounded forms, his women sinuous attitudes.
Antonio Da Correggio - Colouring And Chiaroscuro
Notwithstanding this, his colouring was not too ethereal. His flesh-tints are solid ; he uses yellow and ruddy hues in his high lights, and greenish ones in the half-tones, but these tints were so fused into soft roundness that the flesh of his female figures and children is exquisite in its texture.
Correggio - The Marriage Of St. Catherine.
CORREGGIO painted three different pictures of this subject, of which one is in the Louvre, one at Naples, and the third at St. Petersburg. It has been thought that two of these were either replicas or copies, but this cannot be the case, because they were painted at different times for different people, and each differs from the others on several points.
Correggio - Ecce Homo.
This is one of the few efforts of Correggio to depict sorrow instead of joy, and though the work is technically an exquisite masterpiece, the expression falls short of success. The composition consists of five half-length figures. Christ, His hands bound with cords and a crown of thorns on His head, fills the centre.
Correggio - The Education Of Cupid.
The exquisitely painted picture known as The Education of Cupid, now in our National Gallery, was probably painted for the Duke Gonzaga of Mantua about the same time as the Jupiter and Antiope—i.e., about 1521.
Correggio - The Pietà, Or Deposition From The Cross.
This work is one of the glories of Parma. It was painted at the same time as The Martyrdom of SS. Placidus and Flavia—i.e., 1522-23—and for the same patron, Sig. Placido del Bono. The Pietà is much more natural in style than the Martyrdom, and the more so that in it he has not tried to avoid the sadness necessary to the subject.
Correggio - The Abbess's Room, 1518.
The original little circular dining-room of the Abbess of the Convent of San Paolo is, although not one of his highest works, a very important point in his life and his art development. The commission from the Abbess Giovanna was his first step in fresco painting ; it brought him out of the obscurity of Correggio into a larger sphere, leading up to his master-piece.
Correggio - The Assumption Of The Madonna. (in The Cupola Of The Dome.)
The frescoes of the cupola of Parma Cathedral are as a tour de force in grouping, foreshortening and chiaroscuro, the most remarkable ever painted.
Correggio - Il Giorno, Or The Madonna Of St. Jerome. (gallery At Parma.)
Dresden and Parma divide the honours of possessing Correggio's two masterpieces. The celebrated St. Jerome, popularly known as Il Giorno (The Day), is at Parma, and Dresden, among six other works of the same master, prizes The Epiphany or La Notte (The Night) as the gem of them all.
Correggio - The Nativity—la Notte. (dresden Gallery.)
Correggio's other masterpiece, The Nativity, known as La Notte (The Night), now in Dresden, is entirely different to this in tone and feeling.
Chief Works Of Correggio
From the Chapel of Don Placido del Bono in the Church of San Giovanni. (Old copies of both these works exist in the Gallery at Madrid, where they are esteemed original.)
Books On Correggio.
Antonio Allegri da Correggio, - from the German of Dr. Julius Meyer, translated by Mrs. Charles Heaton. London : Macmillan and Co. 1876.
John Constable - His Life
MUCH that is best in modern landscape painting can be traced back to its origin in the Eastern Counties of England, whence so many of our foremost workers in this field have sprung. In the narrow strip of country between the rivers Stour and Orwell two of England's greatest painters first saw the light—Gainsborough and Constable.
John Constable - His Art
IT may be said with a large measure of truth that a profound love of nature made Constable an artist. The familiar scenes of his earlier years were regarded by him with such affection that he felt impelled to try to paint them.
Illustrations Of John Constable
HAPPILY for the lover of English landscape-painting, the whole range of Constable's art is admirably illustrated in the National Gallery, the Victoria and Albert Museum, the Diploma Gallery of the Royal Academy, and the British Museum.
John Constable - A Scene On A Navigable River
The title of one of the pictures which Constable sent to the Royal Academy in 1817 was A Scene on a Navigable River.
John Constable - Flatford Mill
Flatford Mill, which was bequeathed to the nation by the Misses Maria and Isabel and Mr. Lionel Constable, represents one of those quiet English scenes amid which the artist's boyhood was passed.
John Constable - Dedham Mill
The picture of Dedham Mill, Essex, No. 34 in the Victoria and Albert Museum, is dated 1820, but it bears traces of Constable's study of the Dutch masters, and so may have been begun and laid aside again some four or five years earlier.
John Constable - The Hay-Wain
The Hay-Wain, No. 1207 in the National Gallery, was presented by Mr. Henry Vaughan. It was painted in 1821, and included in the Academy Exhibition of that year under the title of Landscape - Noon.
John Constable - The Salisbury Cathedral
The picture of Salisbury Cathedral, from the Bishop's Garden, No. 33 in the Victoria and Albert Museum, was begun in the earlier part of 1822. It was a commission from the Bishop, and was exhibited in the following spring.
John Constable - Cornfield
In 1826 he painted the Cornfield, perhaps the most widely known of all his works, and certainly one of the most beautiful. In spite of its great attractiveness it remained on his hands until his death, when, as already stated, it was purchased by a number of his friends for 300 guineas and presented to the National Gallery.
Works Of Constable In Public Galleries
National Gallery - The Corn Field, or Country Lane, 1826 (130). Engraved by D. Lucas. See frontispiece and page 59. 4 ft. 8 in. high by 4 ft. wide.
Chief Books On John Constable
BROCK-ARNOLD, M.A., George M. - Gainsborough and Constable (llustrated Biographies of Great Artists), 1881.
John Constable - Chronology Of The Artist's
1776. Born at East Bergholt, Suffolk, on June 11th. 1792. Began to work as a miller. 1794. Made the acquaintance of Sir George Beaumont. 1795. First visit to London to study art. 1797.
Il Barbiere Di Siviglia
THE history of what is popularly called Italian opera begins in the United States with a performance of Rossini's lyrical comedy Il Barbiere di Siviglia; it may, therefore, fittingly take the first place in these operatic studies.
Le Nozze Di Figaro
BEAUMARCHAIS wrote a trilogy of Figaro comedies, and if the tastes and methods of a century or so ago had been like those of the present, we might have had also a trilogy of Figaro operas Le Barbier de Seville, Le Mariage de Figaro, and La Mère coupable.
Die Zauberflote
MOZART'S Zauberflote — The Magic Flute — is the oldest German opera holding a place on the American stage, though not quite 118 years old ; but so far as my memory and records go, it has had but four performances in the original tongue in New York in a whole generation.
Don Giovanni
IN the preceding chapter it was remarked that Mozart's Zauberflote was the oldest German opera in the current American repertory. Accepting the lists of the last two decades as a criterion, Don Giovanni is the oldest Italian opera, save one.
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