Italian 1489-1534 Correggio Locations Italian painter and draughtsman. Apart from his Venetian contemporaries, he was the most important northern Italian painter of the first half of the 16th century. His best-known works are the illusionistic frescoes in the domes of S Giovanni Evangelista and the cathedral in Parma, where he worked from 1520 to 1530. The combination of technical virtuosity and dramatic excitement in these works ensured their importance for later generations of artists. His altarpieces of the same period are equally original and ally intimacy of feeling with an ecstatic quality that seems to anticipate the Baroque. In his paintings of mythological subjects, especially those executed after his return to Correggio around 1530, he created images whose sensuality and abandon have been seen as foreshadowing the Rococo. Vasari wrote that Correggio was timid and virtuous, that family responsibilities made him miserly and that he died from a fever after walking in the sun. He left no letters and, apart from Vasari account, nothing is known of his character or personality beyond what can be deduced from his works. The story that he owned a manuscript of Bonaventura Berlinghieri Geographia, as well as his use of a latinized form of Allegri (Laetus), and his naming of his son after the humanist Pomponius Laetus, all suggest that he was an educated man by the standards of painters in this period. The intelligence of his paintings supports this claim. Relatively unknown in his lifetime, Correggio was to have an enormous posthumous reputation. He was revered by Federico Barocci and the Carracci, and throughout the 17th and 18th centuries his reputation rivalled that of Raphael.  Related Paintings of Correggio :. | Portrait of a Lady | Le mariage mystique de sainte Catherine d'Alexandrie avec saint Sebastien | The marriage mistico of Holy Catalina with San Sebastian | Sinopia of the Coronation of the Virgin | Allegory of Vice |
Related Artists:
MASACCIO
Italian Early Renaissance Painter, 1401-1428 was the first great painter of the Quattrocento period of the Italian Renaissance. His frescoes are the earliest monuments of Humanism, and introduce a plasticity previously unseen in figure painting. The name Masaccio is a humorous version of Tommaso, meaning "big", "fat", "clumsy" or "messy" Tom. The name was created to distinguish him from his principal collaborator, also called Tommaso, who came to be known as Masolino ("little/delicate Tom"). Despite his brief career, he had a profound influence on other artists. He was one of the first to use scientific perspective in his painting, employing techniques such as vanishing point in art for the first time. He also moved away from the Gothic style and elaborate ornamentation of artists like Gentile da Fabriano to a more natural mode that employed perspective for greater realism. Masaccio was born to Giovanni di Mone Cassa??i and Jacopa di Martinozzo in Castel San Giovanni di Altura, now San Giovanni Valdarno (now part of the province of Arezzo, Tuscany). His father was a notary and his mother the daughter of an innkeeper of Barberino di Mugello, a town a few miles south of Florence. His family name, Cassai, comes from the trade of his grandfather Simone and granduncle Lorenzo, who were carpenters - cabinet makers ("casse", hence "cassai"). His father died in 1406, when Tommaso was only five; in that year another brother was born, called Giovanni after the dead father. He also was to become a painter, with the nickname of "Scheggia" meaning "splinter". The mother was remarried to an elderly apothecary, Tedesco, who guaranteed Masaccio and his family a comfortable childhood.
Thomas Frye
The Anglo-Irish painter Thomas Frye (c. 1710 - 3 April 1762 best known for his portraits in oil and pastel, including some miniatures and his early mezzotint engravings, was also the patentee of the Bow porcelain factory, London, and claimed in his epitaph to be "the inventor and first manufacturer of porcelain in England," though his rivals at the Chelsea porcelain factory seem to have preceded him in bringing wares to market. The Bow porcelain works did not long survive Frye's death; their final auctions took place in May 1764. Thomas Frye was born at Edenderry, County Offaly, Ireland, in 1710; in his youth he went to London to practice as an artist. His earliest work are a pair of pastel portraits of boys, one dated 1734 (Earl of Iveagh). For the Worshipful Company of Saddlers he painted a full-length portrait of Frederick, Prince of Wales (1736, destroyed 1940), which he engraved in mezzotint and published in 1741. With his silent partner, a London merchant Edward Heylyn, he took out a patent on kaolin to be imported from the English colony of Virginia in November 1745, and became manager of the Bow factory from its obscure beginnings in the 1740s. He retired to Wales in 1759 for the sake of his lungs, but soon returned to London and resumed his occupation as an engraver, publishing the series of life-size fancy portraits in mezzotint, by which he is most remembered. He died of consumption on 2 April 1762. Frye had five children; his two daughters assisted him in painting porcelain at Bow until their marriages. One of them, who married a Mr. Willcox, was employed by Josiah Wedgwood at the Wedgwood Etruria works in painting figure-subjects from 1759 to 1776, the year of her death.
Samuel Hieronymous Grimm
Swiss Painter, 1733-1794 Swiss painter and draughtsman, active in England. He studied in Berne under Johann Ludwig Aberli and became established as a painter of topographical views in oil and watercolour. His early surviving works (e.g. River Landscape and Landscape with Chasseurs; Basle, priv. col.) are principally tinted drawings of landscapes and alpine scenery, with scenes of rustic life in the foreground; they display his characteristically charming and informal style. He also produced many decorative book illustrations: the frontispiece and plates to Friedrich von Hagedorn's Poetische Werke (1769-72) are among his finest. By 1764 Grimm had abandoned oils and was painting only in watercolour. From 1765 to 1768 he travelled and painted in France; he then moved to England,