az érett reneszánsz egyik legkiválóbb, rövid életű, de fényes karrierű itáliai festője. We do not know how Correggio came into contact with the badge but, since the monastery of Saint Paul was Benedictine, It is possible that the relationships the artist had had with the Benedictines of St. Benedict Po (Mantua)Correggio’s knowledge of the recent achievements of the Roman Renaissance is not supported by sources, but some of the reasons for the House suggest a well-developed knowledge of Raffaello and works such as the Signature Room and the Psyche Loggia (the latter still In work) In Rome maybe the artist also saw the lost chapel of the Belvedere di Mantegna (about 1480, lost but described by Chattard in the 18th century), a possible source of further inspiration. In November, 1522, he engaged as his assistants three young artists—possibly former pupils. Girolama Francesca was the daughter of Bartolommeo Merlini de Braghetis, one of the armigeri (i.e., cavaliers bearing arms) of the Marquis of Mantua, as his forefathers for several generations had been before him. This is a fresco fragment from Correggio’s Coronation of the Virgin, which he painted in the apse of the church of S. Giovanni Evangelista in Parma, Italy. He at least might have put it on the mule which the monks of San Giovanni gave him on April 28, 1521, as part of his payment, reckoning it at the value of 8 ducats. He was afterwards sponsor to several other children born in Correggio ; on July 14, 1514, he was present at the reading of the will of Giovanna di Montecorvino ; and in January, 1518, and twice in September, 1519, he witnessed legal deeds for his friend F. A. Bottoni. In these connections the painter succeeded in seizing the most authentic bond between the various figures, Leonardo da Vinci’s lesson From the richness of light sources of Night or Orr in the garden, the research on the luminance of the CarracciNext to these works are the private commissions for small-scale works (extraordinary such as Child Adoration at the Uffizi or Ecce Homo at the National Gallery in London) and launch the series of mythological works, which were the recurring subject In its latest productionBetween 1524 and 1527 he performed the canvas with Venus and Love spied on by a satire, now preserved at the Louvre, representing Earth Love, and the Cupid Education of the National Gallery of London, which represents heavenly Love Maybe The pair of canvases was made on commission by Count Mantua Nicola Maffei, in whose house they were found in 1536 By now affirmed and esteemed by the Po Valley, spent the last years of life in an attempt to meet the many requests for works that came from many Local lords and especially those of MantuaIsabella d’Este, marquise of Mantua, commissioned two works that would complete the decoration of his studio in the Palazzo Ducale of Mantua, certainly the most dear and intimate environment for her. The arrangement of the clouds emphasizes the ascending movement of the Virgin. Correggio was remembered by his contemporaries as a shadowy, melancholic and introverted character. Then came the supreme grief of his life. The city was ruled by the Gonzaga family who saw the city became a notable centre of the arts. His uncle Lorenzo was a painter, and is reasonably supposed to have been his first master. The spiral composition, perfected by all the prospective approaches both of the scale of the figures and of blur in the light for the farthest subjects, guides the eye of the spectator in depth And accentuates the ascending motion of the figures Below are the four Parma protectors in the plumesThe source of light represents the Empire, the seat of Heavenly Paradise and God’s dwelling. On January 15, 1534, he had a commission from Alberto Panciroli, son of the historian Girolamo Panciroli, to paint a large picture for his altar in S. Agostino, but it was never finished, for Correggio died on March 5, and his father returned the 25 scudi of caution money to Panciroli on account of the uncompleted work. Among the first, in 1524, there had to be the partial decoration of the Chapel of the Bono in the same church, commissioned by Placido del Bono that required two canvases for the Poarets Sideways: the Fall on the Dead Christ and the Martyrdom of the Four Saints, both today at the National Gallery of ParmaThese were highly experimental works with diagonal views that were perfected with a lateral view of the canvases.

The first commission, for which he was paid 472 gold sequins, occupied five years, during the early part of which he lived in a convent, where rooms were assigned to him. Francia’s influence on Correggio’s style was possibly further strengthened by his pupil, Lorenzo Costa, who was invited to Mantua in 1507 by Marchese Francesco Gonzaga, and was probably personally known to our artist.Dr. AT the time when Vasari wrote his biography of Correggio very little was known of that artist’s personal life ; and his biographer, while fairly chronicling some of his best-known pictures, leaves but a hazy, and in some ways a false idea of the man. There is however speculation that the works may have been for Gonzaga’s lover, noblewoman Isabella Boschetti, known as ‘la bella Boschetta’.Correggio’s work can be found in major galleries around the world, including:Correggio died on 5 March 1534 in his hometown and was buried, along with his family, in San Francesco in the town centre.


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