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Antonio
Allegri da Correggio, 1489 eller 1494-1534, italiensk maler, åpenbart utdannet
ved studium av Andrea Mantegna og ved skolen i Ferrara. Hans tidlige arbeider hadde
vesentlig Madonna som motiv. Han fikk sitt gjennombrudd da han fikk i oppdrag å utstyre
abbedissens rom i klosteret S. Paolo i Parma med freskobilder med verdslige motiver, blant
annet av Dianas jakt. Han dekorerte taket som en løvhytte med ovale åpninger
så man kunne se amorinene i hennes følge. Derefter malte han Marias kroning
(som nu er så godt som ødelagt) i apiskuppelen, Kristi himmelfart i
hovedkuppelen og Marias himmelfart i domkirken S. Giovanni Evangelistas kuppel,
også dette i Parma. Illustrasjonsmaleriet, som kom til å spille en stor rolle i
barokken, er fullt utviklet i disse utsmykningene.
Fordi Correggio i langt større grad enn Leonardo utnyttet clair-obscurens muligheter,
fikk man fornemmelsen av at skikkelser, skyer etc. gikk over i hverandre, hvor en
skiftende, ofte voldsom, bevegelse var den drivende kraft. Den gjorde seg også gjeldende
i personenes følelsesliv, som var preget av effekter, snart ekstase, snart pasjon eller
hengivelse og sentimentalitet. Dette særkjenner blant annet en rekke alterbilder og andre
bilder med religiøst motiv som han utførte samtidig med de monumentale
dekorasjonsarbeidene.
På det erotiske område viste hans kunst en tilsvarende uanfektet intimitet og grasiøs
naturlighet.
Correggios myke, maleriske form og smidigefigurkomposisjon fikk enorm betydning frem
til 1700-tallet.
Correggio (Antonio Allegri) (c. 1489-1534). Italian painter, named
after the small town in Emilia where he was born. Little is known of his life, but his
paintings suggest under whom he may have formed his style. Echoes of Mantegna's manner in many of his
early paintings indicate that he may have studied that master's work in Mantua, and he was
influenced in these works also by Lorenzo Costa and Leonardo, adopting Costa's pearly
Ferrarese coloring and, in the St John of the St Francis altarpiece
(Gemäldegalerie, Dresden, 1514), his first documented work, Leonardo's characteristic
gesture of the pointing finger. Later he initiated a style of sentimental elegance and
conscious allure with soft sfumato and gestures of captivating charm.
Correggio may well have visited Rome early in his career, although Vasari maintains that
he never went there and the obvious inspiration of the paintings of Raphael and Michelangelo could be
accounted for by drawings and prints which were known all over Italy.
He was probably in Parma, the scene of his greatest activity, by 1518. His first
large-scale commission there was for the decoration of the abbess's room in the convent of
S. Paolo. The theme of the decorations is Diana, goddess of chastity and the chase, and
the vaulted ceiling uses Mantegna's idea of a leafy trellis framing putti and symbols of
the hunt. The S. Paolo ceiling was followed by two dome paintings in which Correggio
developed the illusionist conception -- already used by Mantegna -- of depicting a scene
as though it were actually taking place in the sky above (sotto in su). The
first of these domes was commissioned for the church of S. Giovanni Evangelista in 1520.
The twelve Apostles sit on clouds round the base, while Christ is shown in sharp
foreshortening ascending to heaven. In the commission six years later for an Assumption
of the Virgin in the dome of Parma Cathedral he used the same principle, but on a
much larger scale and with still more daring foreshortening. These works reveal Correggio
as one of the boldest and most inventive artists of the High Renaissance and they were
highly influential on the development of Baroque dome painting (one of the
most important successors, Lanfranco, was a native of Parma).