Antonio da Correggio

“ Now at that time there had been a work by the hand of Antonio Correggio transported to Bologna and deposited in the house of the Counts Ereoiani. The subject of the picture was our Saviour Christ appearing to Mary Magdalene in the form of the Gardener; [31] and this painting, which was executed with a degree of perfection, and finished with a softness to which no words could do justice; this work, I say, did so possess itself of the heart of Girolamo, that he could not satisfy himself w’ith copying it, and at length set off for Modena, to see the other works of Correggio in that place. ”

“ It is true that his defects and omissions have been subsequently rectified and supplied, to some extent, by Vasari himself, in the Life of Girolamo da Correggio was the first in Lombardy who commenced the execution of works in the modern maimer, and it is thought that if he had travelled beyond the limits of his native Carpi, as well as by many other writers, among whom the reader is referred to Pungileoni, Memorie storiche di Antonio Allegri detto il Correggio, 3 vols., Parma, 1817; Mengs, Memorie concernenti la vita e le opere di Antonio Allegri, &c. ”

“ At the Certosa of Pavia likewise, there is a large painting by this master; the subject is the Ascension of the Virgin, but the death of the artist before he had had time to complete it, caused this work to be left unfinished; [29] the picture nevertheless suffices to prove that Andrea was an excellent painter, and one who did not shrink from the labours required for the due exercise of his art. [30]
↑ Antonio Allegri, of Correggio, was born in a city so named, in the Duchy of Modena. ”

“ While he lay in this strange cradle his birth was made known by a vision of angels to some shepherds on the neighboring hillsides. At once they betook themselves joyfully to Bethlehem, the first to do honor to the new-born king. These homely visitors are gathered about the manger in Correggio's picture. The dark night is without, but a dazzling white light shines from the Holy Child. ”

“ The Night, Il Giorno and The Reading Magdalene are among his best-known pictures. In Correggio's art there are a wonderful gaiety and a sunny charm; he was a master of light and shadow; and hardly any artist equaled him in painting human flesh. ”

“ One of them tugs mightily at the palm, throwing himself backward in the effort to bend it towards Joseph. Two others sport together with interlocked arms, and higher still, a pair of [54] eyes gleam through the leaves. The whole jocund company seem to fill the place with mirth. They fulfil the promise of the ancient psalmist, "He shall give his angels charge over thee, to keep thee in all thy ways."
Certain characteristics of Correggio's art are well illustrated in the picture. His delight in the foot is here almost equal to that he shows for the hand in "The Marriage of St. Catherine." ”

“ CORREGGIO, or Coreggio, the name ordinarily given to Antonio Allegri (1494-1534) , the celebrated Italian painter, one of the most vivid and impulsive inventors in expression and pose and the most consummate executants. The external circumstances of his life have been very diversely stated by different writers, and the whole of what has been narrated regarding him, even waiving the question of its authenticity, is but meagre. ”

“ Though the first and greatest, Correggio was no more than a Machinist. It was less the Assumption of the Virgin, less a monument of triumphant Religion he meditated to exhibit by sublimity of conception or characteristic composition, than by the ultimate powers of linear and aërial perspective at an elevation which demanded eccentric and violent foreshortening, set off and tuned by magic light and shade, to embody the medium in which the actors were to move; and to the splendour and loftiness of that he accommodated the subject and subordinated the agents. ”

“ Among the many legends respecting Correggio, it is related that when he first contemplated one of the masterpieces of Raffaelle, his brow colored, his eye brightened, and he exclaimed, “I also am a painter!” When Titian first saw the great works of Correggio at Parma, he said, “Were I not Titian, I would wish to be Correggio.” ”

“ Correggio is the most skillful artist since the ancient Greeks in the art of foreshortening; and, indeed, he was master of every technical device in painting, being the first to introduce the rules of aerial perspective. Radiant light floods his pictures and is so delicately graded that it passes subtly into shade with that play of reflections among the shadows which gave transparency in every modulation. ”

“ The name of this great artist was Antonio Allegri, and he was born at Correggio, a small town in the Duchy of Modena, in 1494; hence his acquired name. It was for a long time the fashion to regard the divine creations of Correggio as the mere product of genius and accident; himself as a man born in the lowest grade of society; uneducated in the elements of his art, owing all to the wondrous resources of his own unassisted genius; living and dying in obscurity and poverty ”

“ He succeeded Sir Joshua Reynolds, in due time, as first painter to the king, was knighted in 1815, and five years later became President of the Royal Academy.
To realize under what shadows many an artist has lived, worked, and died, yet who is known to us of the highest genius, we have only to recall some familiar names. Correggio was of very humble birth: and though one of the most original of all the brilliant masters of the sixteenth century, he enjoyed little contemporary fame. His works to-day are held at as high a valuation as those of Raphael, Titian, or Murillo. ”

“ Another painting of Correggio’s youth is the “Arrest of Christ.” A third is an Ancona (or triple altar-piece—the “Repose in Egypt, with Sts Bartholomew and John”) in the church of the Conventuali at Correggio, showing the transition from the painter’s first to his second style. Between 1514 and 1520 Correggio worked much, both in oil and in fresco, for churches and convents. In 1521 he began his famous fresco of the “Ascension of Christ,” on the cupola of the Benedictine church of San Giovanni in Parma ”

“ The uses of their brains, their limbs, their every feature, end in enjoyment; innocent and radiant wantonness is the condition of their whole existence. Correggio conceived the universe under the one mood of sensuous joy: his world was bathed in luxurious light; its inhabitants were capable of little beyond a soft voluptuousness. ”

“ The man who has exquisite gifts of expression passes for more, popularly, than the man with great and grand ideas who utters but imperfectly. There are some pictures here by Correggio—a sleeping Venus and Cupid—a marriage of the infant Jesus and St. Catharine. This Correggio is the poet of physical beauty. Light and shadow are his god. What he lives for is, to catch and reproduce fitting phases of these. The moral is nothing to him, and, in his own world, he does what he seeks. ”

“ There seem to have been few unusual events in Correggio's life; very little that helps us to judge the man, but there is a general opinion that he was a kind and devoted father and husband, as well as a good citizen. With little demand upon his moral character, he did his work, did it well, and his work alone gave him place and fame.
He became the head of a school of painting and had many imitators, but we hear little of his pupils, except that one of them was his own son, Pompino, who lived to be very old, and in his turn was successful as an artist. ”

“ In the passing centuries one picture after another has been put forward as a pretended portrait of Correggio. The painter's admirers were always eager to believe that a real likeness had at last been discovered. Though we cannot rely upon the genuineness of any of these, some are very interesting.
Such an one is our frontispiece, from a painting in the Parma Gallery, pointed out as Correggio's portrait. Whoever the original may have been, the expression is certainly animated and intelligent. There is much humor and kindliness in the face. ”

“ He was usually less interested in the other features, and the Madonna of our picture is exceptionally lovely among his works of this kind.
The picture of La Notte illustrates very strikingly an artistic quality for which Correggio is famous. This is chiaroscuro, or the art of light and shadow,—the art by which the objects and figures of a [6] picture are made to seem enveloped in light and air, as in the actual world. The contrast between the bright light in the centre and the surrounding darkness gives vivid reality to the figures. ”

“ The first thing that strikes us in the art of Correggio is, that he has aimed at the realistic representation of pure unrealities. His saints and angels are beings the like of whom we have hardly seen upon the earth. Yet they are displayed before us with all the movement and the vivid truth of nature. Next we feel that what constitutes the superhuman, visionary quality of these creatures, is their uniform beauty of a merely sensuous type. They are all created for pleasure, not for thought or passion or activity or heroism. ”

“ The Christ-child is a robust little fellow whose chief beauty is his curls. He has the large head which usually shows an active temperament, and we fancy that he is somewhat masterful in his ways. We shall see the same boy again in the picture called The Madonna of St. Jerome.
The mother, too, has a face which soon becomes familiar to the student of Correggio's works. The eyes are full, the nose is rather prominent, the mouth large and smiling, and the chin small. Even St. Catherine is of the same type, except that her face is cast in a smaller and more delicate mould. ”

“ Here is one figure in outline upon the prepared board, with even the finger-marks in colour of the painter himself. Here is the preparation of the figures painted up at once, and, strange to say, with solid and even sunny colours. Here are the heads of a woman and of a naked child, completed with the full zest and tone of Correggio, in texture fine, and in expression rich and luxurious, and as fine an example of his powers as any part to be found in his most celebrated work. ”

“ The wingless boy has the high, full forehead which marks an active mind. Cupid seems to have the more energetic temperament of the two, while his comrade is a bit of a dreamer.
Our picture is a charming illustration of Correggio's love of children. As it was not the fashion of his time to paint children's portraits, he had to make his own opportunities for the favorite subject. How ingenious he was we have had occasion to see in our study. When given a sacred subject to paint he filled all the available spaces with child angels sporting in the clouds. ”

“ Catherine, our illustration shows how skilfully Correggio painted hands. The drooping fingers of the Saviour taper delicately, with long almond-shaped nails. Pilate's hand has slender, flexible fingers like those of some dainty woman, and might be mated with that of Mary Magdalene. It is apparent that the study of hands and feet interested our painter more than that of faces. We shall lose much in his pictures if we do not give special attention to these features. In the case before us, the face of Christ must be less attractive, on account of the sorrowful expression. ”

“ The art of Correggio was very justly summed up by his first biographer, Vasari. After pointing out that in the matter of drawing and composition the artist would scarcely have won a reputation, the writer goes on to say: "To Correggio belongs the great praise of having attained the highest point of perfection in coloring, whether his works were executed in oil or in fresco." In another place he writes, "No artist has handled the colors more effectually than himself, nor has any painted with a more charming manner or given a more perfect relief to his figures." ”

“ The emphasis of lines is diagonal, flowing in the direction of the focal point of the whole decoration.
The genii of the balustrade are beings of Correggio's own creation. His imagination called forth a world of spirits without a counterpart in the work of any other painter. Lacking the wings usually given in art to angels, they also lack the proper air of sanctity for heavenly habitants. Yet they are far too ethereal for mortals. Neither angel nor human, they are rather sprites of elf-land. ”

“ In every phase Correggio’s work is distinguishable by the most beautiful handling of color and light and dark. Like Moretto and Lotto he prefers a blonder scale than the Venetian, and makes his surfaces so many miracles of ivory, silvery grays and straw yellows, invested with shadow tenuously modulated, yet of strongest modelling power. He cares nothing about textures or individually rich passages; it is the whole picture that counts. The brush sweeps lightly and swiftly, there is no loading of color, everywhere an exquisite economy and a subtlety that conceals itself. ”

“ But many of the angels' heads in Correggio's frescoes are exquisitely beautiful. It is only in Parma that Correggio's power can be fully appreciated. His charm is to be found rather in his oil-paintings, and in these the National Gallery possesses some acknowledged masterpieces. In 1530 Correggio lost his wife, and returned to his native town. "Although by nature good and well-disposed, he nevertheless," says Vasari, "grieved more than was reasonable under the burden of those passions which are common to all men. ”

“ The method, peculiar to him, by which he realised this way of looking at things on canvas, is the subtle gradation of colours,—a point, it is interesting to note, in which of all modern masters Leighton most nearly resembles him (Art of England, p. 98) . "Correggio is," says Ruskin, "the captain of the painter's art as such. Other men have nobler or more numerous gifts, but as a painter, master of the art of laying colour so as to be lovely, Correggio is alone" (Oxford Lectures on Art, § 177) . The circumstances of Correggio's life go far to explain the individuality of his style. ”