Antonio Allegri, known as Correggio after his hometown, died there on this day in 1534. Alongside his Venetian contemporaries like the Bellini, Giorgione, and Titian, Correggio is widely recognized as one of the most important northern Italian artists working in the early decades of the sixteenth century. From dazzling trompe l’oeil ceilings to richly atmospheric oils, Correggio’s paintings had a lasting impact on the Renaissance and Baroque eras.
Reference: David Ekserdjian. “Correggio.” Grove Art Online. Oxford Art Online. Oxford University Press. <http://www.oxfordartonline.com/subscriber/article/grove/art/T019595>.
Assumption of the Virgin (c. 1530), fresco, Parma Cathedral; photo credit: Alinari/Art Resource, NY
Adoration of the Shepherds, oil on panel, c. 1530, Dresden, Gemäldegalerie Alte Meister; photo credit: Erich Lessing/Art Resource, NY
Io, oil on canvas, c. 1532, Vienna, Kunsthistorisches Museum; photo credit: Erich Lessing/Art Resource, NY
Danaë, oil on canvas, c. 1532, Rome, Galleria Borghese; photo credit: Scala/Art Resource, NY
Madonna della Scodella, 1528-30, oil on panel, Parma, Galleria Nazionale
Study for the “Madonna della Scodella,” recto, 1523/1524, pen and brown ink, brown wash, and red chalk on laid paper, Washington D.C, The National Gallery of Art, The Armand Hammer Collection, 1991.217.6.a
Camera di S Paolo (c. 1519), Convent of S Paolo, Parma; photo credit: Erich Lessing/Art Resource, NY
Capturing Carnevale di Ivrea (Battle of the Oranges) on Instagram
Ivrea, a town in northern Italy, plays host to one of the biggest food fights in Europe every year. Attendees in traditional dress from the middle ages flood the streets and are encouraged to pelt each other with oranges.
The Carnevale di Ivrea (Battle of the Oranges) is the fabled recreation of a medieval battle between townspeople and guards—the origins of which are a mixture of legend and history about driving an evil tyrant out of the city. With horse-drawn carts and helmets, organized teams gather in the town’s square for the battle, leaving only a trail of pulp and peel as evidence of destruction.
Comics by Antonio Rubino for the Corriere dei Piccoli, circa 1910–1955 Italy
Giovanni Antonio Bazzi, known as Il Sodoma, died on this day in 1549 in Siena, where he spent the majority of his career. Giorgio Vasari, who felt enmity towards Sodoma, credits the artist’s nickname to his fondness for young boys. Scholars have questioned Vasari’s account, and the artist signed his works as Sodoma. He worked in both panel and fresco and was widely sought after including projects for the Olivetan monastery of Monte Oliveto Maggiore, the wealthy Sienese banker Agostino Chigi in Rome, and the Compagnia di San Sebastiano in Camollia near Siena.
Reference: Enzo Carli. “Sodoma.” Grove Art Online. Oxford Art Online. Oxford University Press.<http://www.oxfordartonline.com/subscriber/article/grove/art/T079496>.
Wedding of Alexander and Roxane, c. 1517, fresco, Villa Farnesina, Rome
Monte Oliveto Maggiore: St Benedict Giving the Rule to the Olivetans; Life of St Benedict, Scene 1: Benedict Leaves His Parent’s House; Scene 13: Benedict Frees a Monk, 1505-8, fresco.
St. Sebastian, 1525, Florence: Galleria Palatina (Palazzo Pitti)
Christ Presented to the People (Ecce Homo), oil on canvas, 1540s, New York, Metropolitan Museum of Art, Gift of Asbjorn R. Lunde, in memory of his parents, Karl and Elisa Lunde, 1996, Accession ID: 1996.261
Ecstasy of St. Theresa, 1647-52
Cornaro Chapel, Santa Maria della Vittoria, Rome
Neapolitan artist Luca Giordano (1634-1705) is heralded as the most prolific artist before Pablo Picasso. His quick production earned him the nickname “Luca Fa Presto” (Luke works quickly) and he was a favorite of patrons in Naples, Florence, and Venice. His skill earned him an invitation from King Charles II of Spain, whom he served for a decade as court artist, working in Madrid, Toledo and the Escorial palace. His early work, like Astronomy now at the Art Gallery of Ontario, shows the influence of Jusepe de Ribera and the dark, brooding tenebrism made popular by Caravaggio. His later works are more colorful and bright, showing the influence of northern Italian artists like Veronese.
Astronomy, c. 1653-1654 or 1680-1692?
Oil on canvas
Overall: 127.4 x 99.5 cm
Gift of Joey and Toby Tanenbaum, 1995
© 2013 Art Gallery of Ontario