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Antonio Allegri da Correggio, his life, his friends, and his time (1896) (14581818579)

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Antonio Allegri da Correggio, his life, his friends, and his time (1896) (14581818579)

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Identifier: antonioallegrida00ricc (find matches)
Title: Antonio Allegri da Correggio, his life, his friends, and his time
Year: 1896 (1890s)
Authors: Ricci, Corrado, 1858-1934
Subjects: Correggio, 1489?-1534
Publisher: New York : C. Scribner's Sons
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University



Text Appearing Before Image:
STUDY FOR ANTIOPE, BY CORREGGIO. In the Royal Library, Windsor. Her right arm supports her head in such a manner as to show the fullcurve of the neck, shaded by a few stray locks of her fair hair. Theample development of the bust is in somewhat curious contrast with Ant iope.
Text Appearing After Image:
ANTIOPE 3°3 the foreshortened legs, which have a slightly shrunken appearance.But the difficulties of the pose have been overcome with such novelease and vigour as to excite the admiration of artists in successivegenerations, Rembrandt among the number, and Guercino, whoimitated the attitude in his Susannah, now in the Pitti Gallery atFlorence. The nymph sleeps; but the warm, soft flesh of hersuperbly modelled body seems to quiver, as if under the influence ofsome voluptuous dream.1 Antiope, daughter of Nycteus, King ofThebes, and the nymph Polyxo, was famous throughout Greece forher beauty and her adventures. Jupiter, desiring to possess her,transformed himself into a Satyr. Correggio, or the friend who furnished him with the argumentof his picture, has confused two distinct mythological personalities.The bow under Antiopes left hand, and the large quiver, coveredwith hide, in the background, show that he supposed the Antiopebeloved by Jupiter to have been, not the daughter of Nycte

By the last decades of the 16th century, the refined Mannerism style had ceased to be an effective means of religious art expression. Catholic Church fought against Protestant Reformation to re-establish its dominance in European art by infusing Renaissance aesthetics enhanced by a new exuberant extravagance and penchant for the ornate. The new style was coined Baroque and roughly coincides with the 17th century. Baroque emphasizes dramatic motion, clear, easily interpreted grandeur, sensuous richness, drama, dynamism, movement, tension, emotional exuberance, and details, and often defined as being bizarre, or uneven. The term Baroque likely derived from the Italian word barocco, used by earlier scholars to name an obstacle in schematic logic to denote a contorted idea or involuted process of thought. Another possible source is the Portuguese word barroco (Spanish barrueco), used to describe an irregular or imperfectly shaped pearl, and this usage still survives in the jeweler’s term baroque pearl. Baroque spread across Europe led by the Pope in Rome and powerful religious orders as well as Catholic monarchs to Northern Italy, France, Spain, Flanders, Portugal, Austria, southern Germany, and colonial South America.

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1896
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Harold B. Lee Library
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antonio allegri da correggio his life his friends and his time 1896
antonio allegri da correggio his life his friends and his time 1896