Monday, September 30, 2019
The Virgin and Child with the Young Saint John the Baptist
Antonio Allegio was born in Correggio, a small Lombard town near Reggioà Emilo. His birth date is unknown (Around 1489). His father was a merchant. Otherwise,à Little is known of Correggioââ¬â¢s life or training. In the years 1503-1505 he apprenticed toà Francesco Bianchi Ferrara of Modena. He was influenced by the classicism of authorsà like Lorenzo Costa and Francesco Francia which can be found in his early paintings.à In 1516 he was in Parma, where he became a friend of Michelangelo Anselmi,à one of the main Mannerist painters of the period. He remained in that city until 1530.à In 1519 he married Girolama Francesco di Braghetis, also of Correggio and died in 1529.In this period Correggio paints his beautiful painting ââ¬Å"Virgin and child with theà young saint John the Baptist.â⬠It is a painting on oil on panel Italian circa. 1494-1534.à The subject matter of the painting is John the Baptist as a child and his firstà meeting of the Madonna and the C hrist child. Influenced by Leonardo da Vinci isà romantic with overwhelming radiance and cool pearly colors. The expressive content ofà the painting is of joy, wonder and is playful. It seems to be a happy, leisurely time for allà threeà people. The young Saint John Baptistââ¬â¢s mood is of reverence as he bows down andà looks up at the Christ child. The lines in the painting is of a symmetrical compositionà arrangement with the Madonna leaning a little toward the young saint almost welcomingà her into her arms.The matter is religious for the young saint is meeting the Christ child as well asà welcomed into the arms of the Madonna. The young Saint John the Baptistââ¬â¢s looks as ifà he is kneeling as he looks up from below to look at the Christ child. The figures areà peasants sitting on a bench in a garden underneath a vine. The Madonna is dressed in aà beautiful pale red dress and a cloak that is a rich blue on top and green underneath. Theà cloak dr aped over her head is folded over and falling off revealing the green underneathà on the right side of the Madonna and the blue on her left shoulder.The color is rich in texture the brush stroke smooth and one stroke. The colorsà are pale, delicate, and deep bringing out the rich color in the painting. The light and coolà pearly radiant color seems to be coming from within the people as well as behind theà Madonna. The specific effect is of symmetry in relation to each other. The work isà organized to show the Madonna in the center lovingly balancing the Christ child on herà left leg as she reaches out her left arm to welcome the young Saint John the Baptist. Theà Christ child is sitting on the Madonnaââ¬â¢s left leg he is raised above the head of the youngà saint and the young saint kneel and look up. The central focus is of the Madonna inthe center and her smile as well as the Christ child balancing on the Madonnaââ¬â¢s leg.Antonia Correggio reflected the his torical context of the renaissance by usingà the periods work of religious themes found in the Madonna, the Christ Child and a youngà John the Baptist. The painting is a stylized and idealized. His religious symbolism isà largely drawn from the work of Jacobus de Voragine (1260) He created dynamicà composition and perspective in his dramatic three-dimensional focused paintings. Theà mythological perspective depicts movement, drama and diagonal compositionà arrangement. You can find this movement and drama in the painting ââ¬Å"The virgin andà child with the young saint John the Baptistâ⬠in the Madonnaââ¬â¢s movement of her arm asà she welcomes the young Saint to join her and her son. Also, in the composition of theà three. The Madonna is in the center of the painting thereby catching the eye of the personà looking at the painting.Antonio Correggio was an enigmatic and eclectic painter. His art was a means toà reproduce life in its most persuasive dome stic side. Later, he initiated a style ofà sentimental elegance and conscious allure with soft gestures and captivating charm byà using imaginary spaces as a replacement for reality. He used these elements of Manneristà and Baroque stylistic approaches found at the time of the renaissance. Antonio Correggioà is considered to this day to be one of the boldest and most inventive artist of the Highà Renaissance. He was revolutionary and is still influential for subsequent artists.Works Citedhttp://WWW.artic.edu/aic/collections/highlight_search?acc=1965.688&page=&1&ArtistID=310
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