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|---|---|---|
[
"José Cuneo",
"family name",
"Cuneo"
] |
José Cuneo (born 1965) is an Argentine comics artist, painter and illustrator.
Born in Buenos Aires, Cuneo's father was a doctor and his mother a teacher. He moved to France in 1986. He has drawn for Pif Gadget and Gai pied, and has also created public service comics to raise awareness of the threat of AIDS. Like his precursor Copi, he is openly gay and uses his work to candidly address issues of gay life.
Cuneo's work is characterized by stylized figures with eyes facing in all directions. As a painter, he has exhibited his work in Paris and Amsterdam
| 6
|
[
"José Cuneo",
"occupation",
"comics artist"
] |
José Cuneo (born 1965) is an Argentine comics artist, painter and illustrator.
Born in Buenos Aires, Cuneo's father was a doctor and his mother a teacher. He moved to France in 1986. He has drawn for Pif Gadget and Gai pied, and has also created public service comics to raise awareness of the threat of AIDS. Like his precursor Copi, he is openly gay and uses his work to candidly address issues of gay life.
Cuneo's work is characterized by stylized figures with eyes facing in all directions. As a painter, he has exhibited his work in Paris and Amsterdam
| 7
|
[
"José Cuneo",
"occupation",
"painter"
] |
José Cuneo (born 1965) is an Argentine comics artist, painter and illustrator.
Born in Buenos Aires, Cuneo's father was a doctor and his mother a teacher. He moved to France in 1986. He has drawn for Pif Gadget and Gai pied, and has also created public service comics to raise awareness of the threat of AIDS. Like his precursor Copi, he is openly gay and uses his work to candidly address issues of gay life.
Cuneo's work is characterized by stylized figures with eyes facing in all directions. As a painter, he has exhibited his work in Paris and Amsterdam
| 9
|
[
"José Cuneo",
"occupation",
"illustrator"
] |
José Cuneo (born 1965) is an Argentine comics artist, painter and illustrator.
Born in Buenos Aires, Cuneo's father was a doctor and his mother a teacher. He moved to France in 1986. He has drawn for Pif Gadget and Gai pied, and has also created public service comics to raise awareness of the threat of AIDS. Like his precursor Copi, he is openly gay and uses his work to candidly address issues of gay life.
Cuneo's work is characterized by stylized figures with eyes facing in all directions. As a painter, he has exhibited his work in Paris and Amsterdam
| 10
|
[
"José Cuneo",
"given name",
"José"
] |
José Cuneo (born 1965) is an Argentine comics artist, painter and illustrator.
Born in Buenos Aires, Cuneo's father was a doctor and his mother a teacher. He moved to France in 1986. He has drawn for Pif Gadget and Gai pied, and has also created public service comics to raise awareness of the threat of AIDS. Like his precursor Copi, he is openly gay and uses his work to candidly address issues of gay life.
Cuneo's work is characterized by stylized figures with eyes facing in all directions. As a painter, he has exhibited his work in Paris and Amsterdam
| 14
|
[
"Marguerite Périer",
"instance of",
"human"
] |
Marguerite Périer (6 April 1646 – 14 April 1733) was a French nun and follower of Jansenism. She was the niece of Blaise Pascal, and wrote a biography of her uncle that has been preserved.The miracle of the Holy Thorn
Marguerite Périer was born in Clermont-Ferrand on 6 April 1646.
She was the third of six children of Florin Périer (died 1672), Seigneur de Bienassis, and Gilberte Périer (1620–1687).Marguerite was the niece and goddaughter of Blaise Pascal. Her father was interested in mathematics and collaborated with Blaise Pascal in various scientific experiments. He would publish some of Pascal's treatises after Pascal died.Marguerite was placed in the care of Port-Royal Abbey, Paris, in January 1654.
Since the previous year she had been suffering from a serious eye problem described as a "lacrimal fistula".
Preparations were being made to treat it surgically when on 24 March 1656 the child declared herself cured from placing her eye against a reliquary containing part of Christ's crown of thorns.
Various doctors judged the cure miraculous in the weeks that followed.
However, Guy Patin, former dean of the Paris Faculty of Medicine, disputed the testimony of "these approvers of miracles".
He said that some were too closely associated with Port-Royal to avoid bias, and others were unqualified "barber surgeons".The event was widely publicized and for a while stopped the persecutions against the abbey.
This miracle was central to the politico-religious debates of the time.
The Jansenists saw it as a sign of God's support for their cause.
Father François Annat, Jesuit and confessor of the king, responded with Le Rabat-joie des jansénistes.
Without questioning the reality of the miracle, which was recognized by the church, he strongly attacked Port-Royal and interpreted the event as an invitation from God to abandon the Jansenist heresy.
Antoine Arnauld and Sébastien-Joseph du Cambout responded to Annat.According to Gilberte Périer in her Vie de Pascal, her brother experienced renewed certainty and joy by the grace of God to his goddaughter.
It helped bring about the reconciliation between Pascal and his sister, and the faith preached at Port-Royal.
According to legend the episode was the starting point of Pascal's reflections, recorded in his Pensées.
Pascal addressed his seventeenth Provincial Letter to Father Annat.However the miracle would be challenged later: medical knowledge has evolved. Marguerite probably only suffered from a tear duct obstruction.
| 0
|
[
"Marguerite Périer",
"country of citizenship",
"France"
] |
Marguerite Périer (6 April 1646 – 14 April 1733) was a French nun and follower of Jansenism. She was the niece of Blaise Pascal, and wrote a biography of her uncle that has been preserved.The miracle of the Holy Thorn
Marguerite Périer was born in Clermont-Ferrand on 6 April 1646.
She was the third of six children of Florin Périer (died 1672), Seigneur de Bienassis, and Gilberte Périer (1620–1687).Marguerite was the niece and goddaughter of Blaise Pascal. Her father was interested in mathematics and collaborated with Blaise Pascal in various scientific experiments. He would publish some of Pascal's treatises after Pascal died.Marguerite was placed in the care of Port-Royal Abbey, Paris, in January 1654.
Since the previous year she had been suffering from a serious eye problem described as a "lacrimal fistula".
Preparations were being made to treat it surgically when on 24 March 1656 the child declared herself cured from placing her eye against a reliquary containing part of Christ's crown of thorns.
Various doctors judged the cure miraculous in the weeks that followed.
However, Guy Patin, former dean of the Paris Faculty of Medicine, disputed the testimony of "these approvers of miracles".
He said that some were too closely associated with Port-Royal to avoid bias, and others were unqualified "barber surgeons".The event was widely publicized and for a while stopped the persecutions against the abbey.
This miracle was central to the politico-religious debates of the time.
The Jansenists saw it as a sign of God's support for their cause.
Father François Annat, Jesuit and confessor of the king, responded with Le Rabat-joie des jansénistes.
Without questioning the reality of the miracle, which was recognized by the church, he strongly attacked Port-Royal and interpreted the event as an invitation from God to abandon the Jansenist heresy.
Antoine Arnauld and Sébastien-Joseph du Cambout responded to Annat.According to Gilberte Périer in her Vie de Pascal, her brother experienced renewed certainty and joy by the grace of God to his goddaughter.
It helped bring about the reconciliation between Pascal and his sister, and the faith preached at Port-Royal.
According to legend the episode was the starting point of Pascal's reflections, recorded in his Pensées.
Pascal addressed his seventeenth Provincial Letter to Father Annat.However the miracle would be challenged later: medical knowledge has evolved. Marguerite probably only suffered from a tear duct obstruction.
| 1
|
[
"Marguerite Périer",
"movement",
"jansenism"
] |
Marguerite Périer (6 April 1646 – 14 April 1733) was a French nun and follower of Jansenism. She was the niece of Blaise Pascal, and wrote a biography of her uncle that has been preserved.
| 3
|
[
"Marguerite Périer",
"place of birth",
"Clermont-Ferrand"
] |
The miracle of the Holy Thorn
Marguerite Périer was born in Clermont-Ferrand on 6 April 1646.
She was the third of six children of Florin Périer (died 1672), Seigneur de Bienassis, and Gilberte Périer (1620–1687).Marguerite was the niece and goddaughter of Blaise Pascal. Her father was interested in mathematics and collaborated with Blaise Pascal in various scientific experiments. He would publish some of Pascal's treatises after Pascal died.Marguerite was placed in the care of Port-Royal Abbey, Paris, in January 1654.
Since the previous year she had been suffering from a serious eye problem described as a "lacrimal fistula".
Preparations were being made to treat it surgically when on 24 March 1656 the child declared herself cured from placing her eye against a reliquary containing part of Christ's crown of thorns.
Various doctors judged the cure miraculous in the weeks that followed.
However, Guy Patin, former dean of the Paris Faculty of Medicine, disputed the testimony of "these approvers of miracles".
He said that some were too closely associated with Port-Royal to avoid bias, and others were unqualified "barber surgeons".The event was widely publicized and for a while stopped the persecutions against the abbey.
This miracle was central to the politico-religious debates of the time.
The Jansenists saw it as a sign of God's support for their cause.
Father François Annat, Jesuit and confessor of the king, responded with Le Rabat-joie des jansénistes.
Without questioning the reality of the miracle, which was recognized by the church, he strongly attacked Port-Royal and interpreted the event as an invitation from God to abandon the Jansenist heresy.
Antoine Arnauld and Sébastien-Joseph du Cambout responded to Annat.According to Gilberte Périer in her Vie de Pascal, her brother experienced renewed certainty and joy by the grace of God to his goddaughter.
It helped bring about the reconciliation between Pascal and his sister, and the faith preached at Port-Royal.
According to legend the episode was the starting point of Pascal's reflections, recorded in his Pensées.
Pascal addressed his seventeenth Provincial Letter to Father Annat.However the miracle would be challenged later: medical knowledge has evolved. Marguerite probably only suffered from a tear duct obstruction.
| 5
|
[
"Marguerite Périer",
"religion or worldview",
"Catholic Church"
] |
The miracle of the Holy Thorn
Marguerite Périer was born in Clermont-Ferrand on 6 April 1646.
She was the third of six children of Florin Périer (died 1672), Seigneur de Bienassis, and Gilberte Périer (1620–1687).Marguerite was the niece and goddaughter of Blaise Pascal. Her father was interested in mathematics and collaborated with Blaise Pascal in various scientific experiments. He would publish some of Pascal's treatises after Pascal died.Marguerite was placed in the care of Port-Royal Abbey, Paris, in January 1654.
Since the previous year she had been suffering from a serious eye problem described as a "lacrimal fistula".
Preparations were being made to treat it surgically when on 24 March 1656 the child declared herself cured from placing her eye against a reliquary containing part of Christ's crown of thorns.
Various doctors judged the cure miraculous in the weeks that followed.
However, Guy Patin, former dean of the Paris Faculty of Medicine, disputed the testimony of "these approvers of miracles".
He said that some were too closely associated with Port-Royal to avoid bias, and others were unqualified "barber surgeons".The event was widely publicized and for a while stopped the persecutions against the abbey.
This miracle was central to the politico-religious debates of the time.
The Jansenists saw it as a sign of God's support for their cause.
Father François Annat, Jesuit and confessor of the king, responded with Le Rabat-joie des jansénistes.
Without questioning the reality of the miracle, which was recognized by the church, he strongly attacked Port-Royal and interpreted the event as an invitation from God to abandon the Jansenist heresy.
Antoine Arnauld and Sébastien-Joseph du Cambout responded to Annat.According to Gilberte Périer in her Vie de Pascal, her brother experienced renewed certainty and joy by the grace of God to his goddaughter.
It helped bring about the reconciliation between Pascal and his sister, and the faith preached at Port-Royal.
According to legend the episode was the starting point of Pascal's reflections, recorded in his Pensées.
Pascal addressed his seventeenth Provincial Letter to Father Annat.However the miracle would be challenged later: medical knowledge has evolved. Marguerite probably only suffered from a tear duct obstruction.
| 7
|
[
"Marguerite Périer",
"occupation",
"nun"
] |
Marguerite Périer (6 April 1646 – 14 April 1733) was a French nun and follower of Jansenism. She was the niece of Blaise Pascal, and wrote a biography of her uncle that has been preserved.
| 8
|
[
"Marguerite Périer",
"mother",
"Gilberte Périer"
] |
The miracle of the Holy Thorn
Marguerite Périer was born in Clermont-Ferrand on 6 April 1646.
She was the third of six children of Florin Périer (died 1672), Seigneur de Bienassis, and Gilberte Périer (1620–1687).Marguerite was the niece and goddaughter of Blaise Pascal. Her father was interested in mathematics and collaborated with Blaise Pascal in various scientific experiments. He would publish some of Pascal's treatises after Pascal died.Marguerite was placed in the care of Port-Royal Abbey, Paris, in January 1654.
Since the previous year she had been suffering from a serious eye problem described as a "lacrimal fistula".
Preparations were being made to treat it surgically when on 24 March 1656 the child declared herself cured from placing her eye against a reliquary containing part of Christ's crown of thorns.
Various doctors judged the cure miraculous in the weeks that followed.
However, Guy Patin, former dean of the Paris Faculty of Medicine, disputed the testimony of "these approvers of miracles".
He said that some were too closely associated with Port-Royal to avoid bias, and others were unqualified "barber surgeons".The event was widely publicized and for a while stopped the persecutions against the abbey.
This miracle was central to the politico-religious debates of the time.
The Jansenists saw it as a sign of God's support for their cause.
Father François Annat, Jesuit and confessor of the king, responded with Le Rabat-joie des jansénistes.
Without questioning the reality of the miracle, which was recognized by the church, he strongly attacked Port-Royal and interpreted the event as an invitation from God to abandon the Jansenist heresy.
Antoine Arnauld and Sébastien-Joseph du Cambout responded to Annat.According to Gilberte Périer in her Vie de Pascal, her brother experienced renewed certainty and joy by the grace of God to his goddaughter.
It helped bring about the reconciliation between Pascal and his sister, and the faith preached at Port-Royal.
According to legend the episode was the starting point of Pascal's reflections, recorded in his Pensées.
Pascal addressed his seventeenth Provincial Letter to Father Annat.However the miracle would be challenged later: medical knowledge has evolved. Marguerite probably only suffered from a tear duct obstruction.
| 9
|
[
"Marguerite Périer",
"father",
"Florin Périer"
] |
The miracle of the Holy Thorn
Marguerite Périer was born in Clermont-Ferrand on 6 April 1646.
She was the third of six children of Florin Périer (died 1672), Seigneur de Bienassis, and Gilberte Périer (1620–1687).Marguerite was the niece and goddaughter of Blaise Pascal. Her father was interested in mathematics and collaborated with Blaise Pascal in various scientific experiments. He would publish some of Pascal's treatises after Pascal died.Marguerite was placed in the care of Port-Royal Abbey, Paris, in January 1654.
Since the previous year she had been suffering from a serious eye problem described as a "lacrimal fistula".
Preparations were being made to treat it surgically when on 24 March 1656 the child declared herself cured from placing her eye against a reliquary containing part of Christ's crown of thorns.
Various doctors judged the cure miraculous in the weeks that followed.
However, Guy Patin, former dean of the Paris Faculty of Medicine, disputed the testimony of "these approvers of miracles".
He said that some were too closely associated with Port-Royal to avoid bias, and others were unqualified "barber surgeons".The event was widely publicized and for a while stopped the persecutions against the abbey.
This miracle was central to the politico-religious debates of the time.
The Jansenists saw it as a sign of God's support for their cause.
Father François Annat, Jesuit and confessor of the king, responded with Le Rabat-joie des jansénistes.
Without questioning the reality of the miracle, which was recognized by the church, he strongly attacked Port-Royal and interpreted the event as an invitation from God to abandon the Jansenist heresy.
Antoine Arnauld and Sébastien-Joseph du Cambout responded to Annat.According to Gilberte Périer in her Vie de Pascal, her brother experienced renewed certainty and joy by the grace of God to his goddaughter.
It helped bring about the reconciliation between Pascal and his sister, and the faith preached at Port-Royal.
According to legend the episode was the starting point of Pascal's reflections, recorded in his Pensées.
Pascal addressed his seventeenth Provincial Letter to Father Annat.However the miracle would be challenged later: medical knowledge has evolved. Marguerite probably only suffered from a tear duct obstruction.
| 10
|
[
"Marguerite Périer",
"family name",
"Perier"
] |
The miracle of the Holy Thorn
Marguerite Périer was born in Clermont-Ferrand on 6 April 1646.
She was the third of six children of Florin Périer (died 1672), Seigneur de Bienassis, and Gilberte Périer (1620–1687).Marguerite was the niece and goddaughter of Blaise Pascal. Her father was interested in mathematics and collaborated with Blaise Pascal in various scientific experiments. He would publish some of Pascal's treatises after Pascal died.Marguerite was placed in the care of Port-Royal Abbey, Paris, in January 1654.
Since the previous year she had been suffering from a serious eye problem described as a "lacrimal fistula".
Preparations were being made to treat it surgically when on 24 March 1656 the child declared herself cured from placing her eye against a reliquary containing part of Christ's crown of thorns.
Various doctors judged the cure miraculous in the weeks that followed.
However, Guy Patin, former dean of the Paris Faculty of Medicine, disputed the testimony of "these approvers of miracles".
He said that some were too closely associated with Port-Royal to avoid bias, and others were unqualified "barber surgeons".The event was widely publicized and for a while stopped the persecutions against the abbey.
This miracle was central to the politico-religious debates of the time.
The Jansenists saw it as a sign of God's support for their cause.
Father François Annat, Jesuit and confessor of the king, responded with Le Rabat-joie des jansénistes.
Without questioning the reality of the miracle, which was recognized by the church, he strongly attacked Port-Royal and interpreted the event as an invitation from God to abandon the Jansenist heresy.
Antoine Arnauld and Sébastien-Joseph du Cambout responded to Annat.According to Gilberte Périer in her Vie de Pascal, her brother experienced renewed certainty and joy by the grace of God to his goddaughter.
It helped bring about the reconciliation between Pascal and his sister, and the faith preached at Port-Royal.
According to legend the episode was the starting point of Pascal's reflections, recorded in his Pensées.
Pascal addressed his seventeenth Provincial Letter to Father Annat.However the miracle would be challenged later: medical knowledge has evolved. Marguerite probably only suffered from a tear duct obstruction.
| 14
|
[
"Marguerite Périer",
"residence",
"Port-Royal Abbey, Paris"
] |
The miracle of the Holy Thorn
Marguerite Périer was born in Clermont-Ferrand on 6 April 1646.
She was the third of six children of Florin Périer (died 1672), Seigneur de Bienassis, and Gilberte Périer (1620–1687).Marguerite was the niece and goddaughter of Blaise Pascal. Her father was interested in mathematics and collaborated with Blaise Pascal in various scientific experiments. He would publish some of Pascal's treatises after Pascal died.Marguerite was placed in the care of Port-Royal Abbey, Paris, in January 1654.
Since the previous year she had been suffering from a serious eye problem described as a "lacrimal fistula".
Preparations were being made to treat it surgically when on 24 March 1656 the child declared herself cured from placing her eye against a reliquary containing part of Christ's crown of thorns.
Various doctors judged the cure miraculous in the weeks that followed.
However, Guy Patin, former dean of the Paris Faculty of Medicine, disputed the testimony of "these approvers of miracles".
He said that some were too closely associated with Port-Royal to avoid bias, and others were unqualified "barber surgeons".The event was widely publicized and for a while stopped the persecutions against the abbey.
This miracle was central to the politico-religious debates of the time.
The Jansenists saw it as a sign of God's support for their cause.
Father François Annat, Jesuit and confessor of the king, responded with Le Rabat-joie des jansénistes.
Without questioning the reality of the miracle, which was recognized by the church, he strongly attacked Port-Royal and interpreted the event as an invitation from God to abandon the Jansenist heresy.
Antoine Arnauld and Sébastien-Joseph du Cambout responded to Annat.According to Gilberte Périer in her Vie de Pascal, her brother experienced renewed certainty and joy by the grace of God to his goddaughter.
It helped bring about the reconciliation between Pascal and his sister, and the faith preached at Port-Royal.
According to legend the episode was the starting point of Pascal's reflections, recorded in his Pensées.
Pascal addressed his seventeenth Provincial Letter to Father Annat.However the miracle would be challenged later: medical knowledge has evolved. Marguerite probably only suffered from a tear duct obstruction.
| 16
|
[
"Henri François d'Aguesseau",
"place of death",
"Paris"
] |
Retirement and death
In 1750, when upwards of eighty-two years of age, d'Aguesseau retired from the duties without giving up the rank of chancellor. He died on 5 February 1751.
| 2
|
[
"Henri François d'Aguesseau",
"family",
"Aguesseau family"
] |
Family
His grandson, Henri Cardin Jean Baptiste, Marquis d'Aguesseau (1746–1826), was advocate-general in the parlement of Paris and deputy in the Estates-General. Under the Consulate he became president of the court of appeal and later minister at Copenhaaen. He was elected to the French Academy in 1787.His granddaughter Henriette Anne Louise d'Aguesseau was the mother-in-law of the Marquis de La Fayette. The present Duke of Noailles is a descendant of Henri François through his granddaughter who was executed in the revolution.
| 11
|
[
"Henri François d'Aguesseau",
"place of birth",
"Limoges"
] |
Early life
He was born in Limoges, France, to a family of magistrates. His father, Henri d'Aguesseau, a hereditary councillor of the parlement of Metz, was a man of singular ability and breadth of view who, after holding successively the posts of intendant of Limousin, Guyenne and Languedoc, was in 1685 called to Paris as councillor of state, appointed director-general of commerce and manufactures in 1695, president of the council of commerce in 1700 and a member of the council of the regency for finance. By him he was early initiated into affairs and brought up in religious principles deeply tinged with Jansenism.D'Aguesseau studied law under Jean Domat, whose influence is apparent in both the legal writings and legislative work of the chancellor. When little more than twenty-one years of age he was, through his father's influence with Louis XIV, appointed one of the three advocates-general to the parlement of Paris; and the eloquence and learning which he displayed in his first speech gained him a very high reputation. D'Aguesseau was in fact the first great master of forensic eloquence in France.
| 14
|
[
"Gui-Jean-Baptiste Target",
"instance of",
"human"
] |
Biography
Born in Paris, Target was the son of a lawyer, and was himself a lawyer to the Parlement of Paris. He acquired a great reputation as a lawyer, less by practice in the courts than in a consultative capacity, and served the ancien régime as member of a committee to revise the civil and criminal laws of the kingdom. He strenuously opposed the "parlement Maupeou", devised by Chancellor Maupeou to replace the old judiciary bodies in 1771, refusing to plead before it, an act that earned him the sobriquet of the "Virgin of the palace".He was counsel for Louis René Edouard, cardinal de Rohan in the "affair of the diamond necklace".In 1785, he was elected to the Académie française.He contributed to the development of the Edict of Tolerance signed at Versailles by Louis XVI in 1787.
| 0
|
[
"Gui-Jean-Baptiste Target",
"place of birth",
"Paris"
] |
Biography
Born in Paris, Target was the son of a lawyer, and was himself a lawyer to the Parlement of Paris. He acquired a great reputation as a lawyer, less by practice in the courts than in a consultative capacity, and served the ancien régime as member of a committee to revise the civil and criminal laws of the kingdom. He strenuously opposed the "parlement Maupeou", devised by Chancellor Maupeou to replace the old judiciary bodies in 1771, refusing to plead before it, an act that earned him the sobriquet of the "Virgin of the palace".He was counsel for Louis René Edouard, cardinal de Rohan in the "affair of the diamond necklace".In 1785, he was elected to the Académie française.He contributed to the development of the Edict of Tolerance signed at Versailles by Louis XVI in 1787.
| 1
|
[
"Gui-Jean-Baptiste Target",
"work location",
"Paris"
] |
Biography
Born in Paris, Target was the son of a lawyer, and was himself a lawyer to the Parlement of Paris. He acquired a great reputation as a lawyer, less by practice in the courts than in a consultative capacity, and served the ancien régime as member of a committee to revise the civil and criminal laws of the kingdom. He strenuously opposed the "parlement Maupeou", devised by Chancellor Maupeou to replace the old judiciary bodies in 1771, refusing to plead before it, an act that earned him the sobriquet of the "Virgin of the palace".He was counsel for Louis René Edouard, cardinal de Rohan in the "affair of the diamond necklace".In 1785, he was elected to the Académie française.He contributed to the development of the Edict of Tolerance signed at Versailles by Louis XVI in 1787.
| 2
|
[
"Gui-Jean-Baptiste Target",
"native language",
"French"
] |
Biography
Born in Paris, Target was the son of a lawyer, and was himself a lawyer to the Parlement of Paris. He acquired a great reputation as a lawyer, less by practice in the courts than in a consultative capacity, and served the ancien régime as member of a committee to revise the civil and criminal laws of the kingdom. He strenuously opposed the "parlement Maupeou", devised by Chancellor Maupeou to replace the old judiciary bodies in 1771, refusing to plead before it, an act that earned him the sobriquet of the "Virgin of the palace".He was counsel for Louis René Edouard, cardinal de Rohan in the "affair of the diamond necklace".In 1785, he was elected to the Académie française.He contributed to the development of the Edict of Tolerance signed at Versailles by Louis XVI in 1787.
| 6
|
[
"Gui-Jean-Baptiste Target",
"occupation",
"jurist"
] |
Biography
Born in Paris, Target was the son of a lawyer, and was himself a lawyer to the Parlement of Paris. He acquired a great reputation as a lawyer, less by practice in the courts than in a consultative capacity, and served the ancien régime as member of a committee to revise the civil and criminal laws of the kingdom. He strenuously opposed the "parlement Maupeou", devised by Chancellor Maupeou to replace the old judiciary bodies in 1771, refusing to plead before it, an act that earned him the sobriquet of the "Virgin of the palace".He was counsel for Louis René Edouard, cardinal de Rohan in the "affair of the diamond necklace".In 1785, he was elected to the Académie française.He contributed to the development of the Edict of Tolerance signed at Versailles by Louis XVI in 1787.
| 8
|
[
"François de Pâris",
"instance of",
"human"
] |
François de Pâris retired to a modest house Faubourg Saint-Marceau, Paris, where he led a very austere life. Indeed, his living condition was so lowly that he "lodged in a hutch of planks set up in a courtyard, wore a hair shirt, and ate one meal a day, all while knitting stockings for the poor and giving advice to those who asked for it. He modeled himself after St. Francis and was apparently considered a local saint by many. His life has been described as one of "heroic humility".During the final years of his life, Pâris became increasingly reclusive, and his ascetic lifestyle became increasingly severe, and he practised self-flagellation:
| 0
|
[
"François de Pâris",
"place of birth",
"Paris"
] |
Life
He was born in Paris into a wealthy family, the son of Nicolas de Pâris, Lord of Branscourt, Machault and Pasquy (1658–1714), and a member of the Parlement of Paris. His mother, Charlotte Rolland, was the daughter of the mayor of Reims. According to biographies published after his death, he was tutored as a young boy by Augustinians at Nanterre. Originally destined for a career in law, he went against his father's wishes and chose a career in the Church instead. In 1712 a bout of smallpox left his face horribly scarred, "an affliction for which he thanked God". In 1713, at the age of 23, three months after the death of his mother in April, he entered the seminary of the Oratory of St. Magloire, where he studied the scriptures. In December 1713, his father Nicolas de Pâris made a will deposited with a notary before he died in March 1714. François opposed the bull Unigenitus, which condemned Pasquier Quesnel's annotated translation of the Bible. He then gave further support to the Jansenists. After three years at the Oratory, Pâris was ordained a deacon. During his time there he gave to the poor his annual family pension, and there is evidence to suggest that he turned down a position as canon of Reims Cathedral in 1718 or 1719 because of his humble stance. During his later career he was associated with the College of Bayeux in Paris, a haven for Jansenist priests and follows, disturbed by the Church hierarchy or the authorities.François de Pâris retired to a modest house Faubourg Saint-Marceau, Paris, where he led a very austere life. Indeed, his living condition was so lowly that he "lodged in a hutch of planks set up in a courtyard, wore a hair shirt, and ate one meal a day, all while knitting stockings for the poor and giving advice to those who asked for it. He modeled himself after St. Francis and was apparently considered a local saint by many. His life has been described as one of "heroic humility".During the final years of his life, Pâris became increasingly reclusive, and his ascetic lifestyle became increasingly severe, and he practised self-flagellation:
| 1
|
[
"François de Pâris",
"place of death",
"Paris"
] |
François de Pâris retired to a modest house Faubourg Saint-Marceau, Paris, where he led a very austere life. Indeed, his living condition was so lowly that he "lodged in a hutch of planks set up in a courtyard, wore a hair shirt, and ate one meal a day, all while knitting stockings for the poor and giving advice to those who asked for it. He modeled himself after St. Francis and was apparently considered a local saint by many. His life has been described as one of "heroic humility".During the final years of his life, Pâris became increasingly reclusive, and his ascetic lifestyle became increasingly severe, and he practised self-flagellation:Death and aftermath
Only 36 years old, Pâris died on 1 May 1727. Large numbers of people from across the social spectrum, including the Cardinal Archbishop Noailles, came to attend his funeral in the small chapel at Saint-Médard. During the funeral and after, people began to collect snippets of hair and fingernails, splinters of wood from his casket or furniture, soil from his gravesite, and other souvenirs which might serve as holy relics. He was buried at the graveyard there on the Rue Mouffetard in the 12th arrondissement of Paris, not far from the Jardin des Plantes. Shortly after the funeral, his tomb became the site of religious pilgrimages and purported wonder-working. Miracles were said to be performed before his tomb which left people in a state of ecstasy. The Jansenists came to pray at the cemetery. His admirers composed hymns and self-styled hagiographies praising the late deacon as a saint. In June 1728, Cardinal Noailles started an official enquiry to investigate five of the reported miracles and in the end his findings led to him posthumously bestowing upon François the title of "bienheureux". Many of the city's prominent Jansenists wanted Pâris to be made into a saint, and Cardinal Noailles even began the process of beatification.
| 2
|
[
"François de Pâris",
"occupation",
"deacon"
] |
François de Pâris (French pronunciation: [fʁɑ̃swa d(ə) pɑʁi]; 3 June 1690 – 1 May 1727) was a French Catholic deacon and theologian, a supporter of Jansenism. He became deacon of the Oratory of St. Magloire and was noted for his critique of the papal bull Unigenitus, which condemned Pasquier Quesnel's annotated translation of the Bible. He gave his earnings to the poor, and in his retirement he lived in a state of extreme poverty. After his death, his place of burial gained a reputation for supernatural events and the basis of the Convulsionnaires of Saint-Médard where he is buried. In 1731 there was a movement by the Jansenists to canonize François de Pâris as a saint in acknowledgement of the miracles said to have been performed there and Cardinal Archbishop Louis Antoine de Noailles, who had investigated several of the reports in 1728, had begun the beatification process.
| 7
|
[
"François de Pâris",
"family name",
"de Pâris"
] |
Life
He was born in Paris into a wealthy family, the son of Nicolas de Pâris, Lord of Branscourt, Machault and Pasquy (1658–1714), and a member of the Parlement of Paris. His mother, Charlotte Rolland, was the daughter of the mayor of Reims. According to biographies published after his death, he was tutored as a young boy by Augustinians at Nanterre. Originally destined for a career in law, he went against his father's wishes and chose a career in the Church instead. In 1712 a bout of smallpox left his face horribly scarred, "an affliction for which he thanked God". In 1713, at the age of 23, three months after the death of his mother in April, he entered the seminary of the Oratory of St. Magloire, where he studied the scriptures. In December 1713, his father Nicolas de Pâris made a will deposited with a notary before he died in March 1714. François opposed the bull Unigenitus, which condemned Pasquier Quesnel's annotated translation of the Bible. He then gave further support to the Jansenists. After three years at the Oratory, Pâris was ordained a deacon. During his time there he gave to the poor his annual family pension, and there is evidence to suggest that he turned down a position as canon of Reims Cathedral in 1718 or 1719 because of his humble stance. During his later career he was associated with the College of Bayeux in Paris, a haven for Jansenist priests and follows, disturbed by the Church hierarchy or the authorities.
| 10
|
[
"Martin de Barcos",
"place of birth",
"Bayonne"
] |
Life
Barcos was born at Bayonne, a nephew of Jean du Vergier de Hauranne, the commendatory abbot of the Abbey of Saint-Cyran in the Duchy of Berry, who sent him to Belgium to be taught by Cornelius Jansen. When he returned to France he served for a time as tutor to a son of Robert Arnauld d'Andilly and later, in 1644, succeeded his uncle as the owner of the abbey. He did much to improve the abbey; new buildings were erected, and the library much enhanced.
Unlike many commendatory abbots of his day, however, who scarcely ever saw the monasteries over which they held authority, Barcos became an active member of the abbey, became a priest in 1647, and gave himself up to the rigid asceticism preached by his sect. He died there.
Barcos' ties with Du Vergier and Arnauld and, through them, with the Abbey of Port-Royal-des-Champs, soon brought him to the front in the debates about Jansenism. He collaborated with his uncle in the Petrus Aurelius and with Arnauld in the book on Frequent Communion.
| 10
|
[
"Martin de Barcos",
"occupation",
"Catholic priest"
] |
Martin de Barcos (1600–1678), was a French Catholic priest and theologian of the Jansenist School.Life
Barcos was born at Bayonne, a nephew of Jean du Vergier de Hauranne, the commendatory abbot of the Abbey of Saint-Cyran in the Duchy of Berry, who sent him to Belgium to be taught by Cornelius Jansen. When he returned to France he served for a time as tutor to a son of Robert Arnauld d'Andilly and later, in 1644, succeeded his uncle as the owner of the abbey. He did much to improve the abbey; new buildings were erected, and the library much enhanced.
Unlike many commendatory abbots of his day, however, who scarcely ever saw the monasteries over which they held authority, Barcos became an active member of the abbey, became a priest in 1647, and gave himself up to the rigid asceticism preached by his sect. He died there.
Barcos' ties with Du Vergier and Arnauld and, through them, with the Abbey of Port-Royal-des-Champs, soon brought him to the front in the debates about Jansenism. He collaborated with his uncle in the Petrus Aurelius and with Arnauld in the book on Frequent Communion.
| 11
|
[
"Martin de Barcos",
"occupation",
"theologian"
] |
Martin de Barcos (1600–1678), was a French Catholic priest and theologian of the Jansenist School.
| 12
|
[
"Nicolas Letourneux",
"place of death",
"Paris"
] |
Nicolas Letourneux (30 April 1640 – 28 November 1686) was a French preacher and ascetical writer of Jansenistic tendencies.
Letourneux was born at Rouen. His parents were poor, but the talents he displayed at an early age attracted the attention of some wealthy benefactors, whose assistance enabled him to study the humanities at the Jesuit College in Paris, and later philosophy at the Collège des Grassins. To Dr. Jean Hersant, his teacher at the latter institution, may be traced his Jansenistic views. Ordained priest at Rouen in 1662, he served for some years as curate there. About 1670 he removed to Paris, became closely associated with the Port-Royalists, and began to cultivate Jansenistic asceticism. He exchanged his soutane for a coarse grey robe and abstained from celebrating Mass, to expiate in this manner what he esteemed his guilt in having accepted ordination at so early an age (22).
His intercourse with Lemaître restored him to more orthodox Catholic views; returning to pastoral duties, he acted as chaplain at the Collège des Grassins. His sermons at various Paris churches quickly placed him in the front rank of the preachers of his day, and in 1675 his work on the text Martha, Martha, thou art careful (Luke, x, 41) won the Balzac prize for eloquence awarded by the French Academy. In such esteem was he held by his spiritual superiors that Archbishop de Harlay appointed him, in 1679, temporary confessor of the nuns of Port-Royal, and also a member of the archiepiscopal commission for the emendation of the Breviary. His relations with the leading Jansenists, however, soon awakened distrust, and he found it necessary to retire, in 1682, to the Priory of Villiers-sur-Fère, a benefice granted him by his patron, Cardinal Colbert of Rouen. In this retirement he devoted the remainder of his life to his ascetical compositions. He died in Paris.
| 1
|
[
"Skillet Lickers",
"movement",
"hillbilly"
] |
The Skillet Lickers were an old-time band from Georgia, United States.
When Gid Tanner teamed up with blind guitarist Riley Puckett and signed to Columbia in 1924, they created the label's earliest so-called "hillbilly" recording. Gid Tanner formed The Skillet Lickers in 1926. The first line-up was Gid Tanner, Riley Puckett, Clayton McMichen and Fate Norris. Between 1926 and 1931 they recorded 88 sides for Columbia, with 82 of them commercially issued. Later members were Lowe Stokes, Bert Layne, Hoke Rice, Arthur Tanner and Hoyt "Slim" Bryant. Their best-selling single was "Down Yonder", a hillbilly breakdown, in 1934 on RCA Victor. They disbanded in 1931, but reformed for occasional recordings after a couple of years with a changing line-up. "Back Up and Push" was another well-known recording. The Skillet Lickers, together with fellow North Georgians Fiddlin' John Carson and the Georgia Yellow Hammers, made Atlanta and North Georgia an early center of old-time string band music, especially the hard-driving fiddle-based style employed by each of these performers.
| 1
|
[
"Skillet Lickers",
"movement",
"folk music"
] |
The Skillet Lickers were an old-time band from Georgia, United States.
When Gid Tanner teamed up with blind guitarist Riley Puckett and signed to Columbia in 1924, they created the label's earliest so-called "hillbilly" recording. Gid Tanner formed The Skillet Lickers in 1926. The first line-up was Gid Tanner, Riley Puckett, Clayton McMichen and Fate Norris. Between 1926 and 1931 they recorded 88 sides for Columbia, with 82 of them commercially issued. Later members were Lowe Stokes, Bert Layne, Hoke Rice, Arthur Tanner and Hoyt "Slim" Bryant. Their best-selling single was "Down Yonder", a hillbilly breakdown, in 1934 on RCA Victor. They disbanded in 1931, but reformed for occasional recordings after a couple of years with a changing line-up. "Back Up and Push" was another well-known recording. The Skillet Lickers, together with fellow North Georgians Fiddlin' John Carson and the Georgia Yellow Hammers, made Atlanta and North Georgia an early center of old-time string band music, especially the hard-driving fiddle-based style employed by each of these performers.
| 2
|
[
"Giovanni Semeria",
"instance of",
"human"
] |
Biography
Provenance
Giovanni Semeria was born during the aftermath of the 1866 Italian War of Independence. In accordance with his late father's wishes, he was born in Colle which at that time was an autonomous municipality, but which has subsequently been renamed as Coldirodi and in 1925 subsumed into San Remo, a sprawling coastal municipality along the coast between Genoa and Nice. His father, also called Giovanni, died when an outbreak of Cholera gripped the regiment in which he was serving during the course of the war. His widowed mother settled near Turin and took as her second husband Pietro Grosso. The fact that he was an orphan conditioned Semera's entire life.
| 0
|
[
"Giovanni Semeria",
"place of death",
"Sparanise"
] |
Death at Sparanise
Giovanni Semeria delivered his final speech at Montecassino. Still smiling, he was nevertheless now obviously exhausted and seriously ill. He returned to his orphanage at nearby Sparanise where he was staying. He collapsed and died in the presence of Minozzi, the nuns, the orphans, those who love and admiration he had earned. His body was taken to the Barnabite monastery in Rome, wrapped in the Italian flag. In the end his remains were buried at an O.N.P.M.I. summer camp which he was particularly fond, at Monterosso al Mare along the coast from La Spezia.
| 5
|
[
"Giovanni Semeria",
"place of birth",
"Coldirodi"
] |
Biography
Provenance
Giovanni Semeria was born during the aftermath of the 1866 Italian War of Independence. In accordance with his late father's wishes, he was born in Colle which at that time was an autonomous municipality, but which has subsequently been renamed as Coldirodi and in 1925 subsumed into San Remo, a sprawling coastal municipality along the coast between Genoa and Nice. His father, also called Giovanni, died when an outbreak of Cholera gripped the regiment in which he was serving during the course of the war. His widowed mother settled near Turin and took as her second husband Pietro Grosso. The fact that he was an orphan conditioned Semera's entire life.
| 7
|
[
"Giovanni Semeria",
"given name",
"Giovanni"
] |
Biography
Provenance
Giovanni Semeria was born during the aftermath of the 1866 Italian War of Independence. In accordance with his late father's wishes, he was born in Colle which at that time was an autonomous municipality, but which has subsequently been renamed as Coldirodi and in 1925 subsumed into San Remo, a sprawling coastal municipality along the coast between Genoa and Nice. His father, also called Giovanni, died when an outbreak of Cholera gripped the regiment in which he was serving during the course of the war. His widowed mother settled near Turin and took as her second husband Pietro Grosso. The fact that he was an orphan conditioned Semera's entire life.
| 10
|
[
"Giovanni Semeria",
"family name",
"Semeria"
] |
Biography
Provenance
Giovanni Semeria was born during the aftermath of the 1866 Italian War of Independence. In accordance with his late father's wishes, he was born in Colle which at that time was an autonomous municipality, but which has subsequently been renamed as Coldirodi and in 1925 subsumed into San Remo, a sprawling coastal municipality along the coast between Genoa and Nice. His father, also called Giovanni, died when an outbreak of Cholera gripped the regiment in which he was serving during the course of the war. His widowed mother settled near Turin and took as her second husband Pietro Grosso. The fact that he was an orphan conditioned Semera's entire life.
| 14
|
[
"Antonio Gramsci",
"place of death",
"Rome"
] |
Imprisonment and death
On 9 November 1926, the Fascist government enacted a new wave of emergency laws, taking as a pretext an alleged attempt on Mussolini's life that had occurred several days earlier. The fascist police arrested Gramsci, despite his parliamentary immunity, and brought him to the Roman prison Regina Coeli.
At his trial, Gramsci's prosecutor stated, "For twenty years we must stop this brain from functioning". He received an immediate sentence of five years in confinement on the island of Ustica and the following year he received a sentence of 20 years' imprisonment in Turi, near Bari.
Over 11 years in prison, his health deteriorated: "His teeth fell out, his digestive system collapsed so that he could not eat solid food ... he had convulsions when he vomited blood and suffered headaches so violent that he beat his head against the walls of his cell."An international campaign, organised by Piero Sraffa at Cambridge University and Gramsci's sister-in-law Tatiana, was mounted to demand Gramsci's release. In 1933 he was moved from the prison at Turi to a clinic at Formia, but was still being denied adequate medical attention. Two years later he was moved to the Quisisana clinic in Rome. He was due for release on 21 April 1937 and planned to retire to Sardinia for convalescence, but a combination of arteriosclerosis, pulmonary tuberculosis, high blood pressure, angina, gout, and acute gastric disorders meant that he was too ill to move. Gramsci died on 27 April 1937, at the age of 46. His ashes are buried in the Cimitero Acattolico in Rome. By moving Gramsci from prison to hospital when he became very ill, the Mussolini regime was attempting to avoid the accusation that it was his incarceration that caused his death. Nevertheless, his death was linked directly to prison conditions. Gramsci's grandson, Antonio Jr., speculated that the Stalinist regime could have been active in preventing Gramsci's release from prison due to his perceived Trotskyist sympathies.
| 2
|
[
"Antonio Gramsci",
"place of birth",
"Ales"
] |
Life
Early life
Gramsci was born in Ales, in the province of Oristano, on the island of Sardinia, the fourth of seven sons of Francesco Gramsci (1860–1937) and Giuseppina Marcias (1861–1932). The senior Gramsci was a low-level official born in the small town of Gaeta, in the province of Latina (in the Central Italian region of Lazio), to a well-off family from the Southern Italian regions of Campania and Calabria and of Arbëreshë (Italo-Albanian) descent. Antonio Gramsci himself believed his father's family had left Albania as recently as 1821. The Albanian origin of his father's family is attested in the surname Gramsci, an Italianized form of Gramshi, that stems from the definite noun of the placename Gramsh, a small town in central-eastern Albania. Antonio Gramsci's mother belonged to a Sardinian landowning family from Sorgono (in the province of Nuoro). The senior Gramsci's financial difficulties and troubles with the police forced the family to move about through several villages in Sardinia until they finally settled in Ghilarza.In 1898, Francesco was convicted of embezzlement and imprisoned, reducing his family to destitution. The young Antonio had to abandon schooling and work at various casual jobs until his father's release in 1904. As a boy, Gramsci suffered from health problems, particularly a malformation of the spine that stunted his growth (his adult height was less than 5 feet) and left him seriously hunchbacked. For decades, it was reported that his condition had been due to a childhood accident – specifically, having been dropped by a nanny – but more recently it has been suggested that it was due to Pott disease, a form of tuberculosis that can cause deformity of the spine. Gramsci was also plagued by various internal disorders throughout his life.
Gramsci started secondary school in Santu Lussurgiu and completed it in Cagliari, where he lodged with his elder brother Gennaro, a former soldier whose time on the mainland had made him a militant socialist. However, Gramsci's sympathies then did not lie with socialism, but rather with the grievances of impoverished Sardinian peasants and miners, whose mistreatment by the mainlanders would later deeply contribute to his intellectual growth. They perceived their neglect as a result of privileges enjoyed by the rapidly industrialising North, and they tended to turn to a growing Sardinian nationalism, brutally repressed by troops from the Italian mainland, as a response.
| 9
|
[
"Antonio Gramsci",
"place of detention",
"Turi"
] |
Imprisonment and death
On 9 November 1926, the Fascist government enacted a new wave of emergency laws, taking as a pretext an alleged attempt on Mussolini's life that had occurred several days earlier. The fascist police arrested Gramsci, despite his parliamentary immunity, and brought him to the Roman prison Regina Coeli.
At his trial, Gramsci's prosecutor stated, "For twenty years we must stop this brain from functioning". He received an immediate sentence of five years in confinement on the island of Ustica and the following year he received a sentence of 20 years' imprisonment in Turi, near Bari.
Over 11 years in prison, his health deteriorated: "His teeth fell out, his digestive system collapsed so that he could not eat solid food ... he had convulsions when he vomited blood and suffered headaches so violent that he beat his head against the walls of his cell."An international campaign, organised by Piero Sraffa at Cambridge University and Gramsci's sister-in-law Tatiana, was mounted to demand Gramsci's release. In 1933 he was moved from the prison at Turi to a clinic at Formia, but was still being denied adequate medical attention. Two years later he was moved to the Quisisana clinic in Rome. He was due for release on 21 April 1937 and planned to retire to Sardinia for convalescence, but a combination of arteriosclerosis, pulmonary tuberculosis, high blood pressure, angina, gout, and acute gastric disorders meant that he was too ill to move. Gramsci died on 27 April 1937, at the age of 46. His ashes are buried in the Cimitero Acattolico in Rome. By moving Gramsci from prison to hospital when he became very ill, the Mussolini regime was attempting to avoid the accusation that it was his incarceration that caused his death. Nevertheless, his death was linked directly to prison conditions. Gramsci's grandson, Antonio Jr., speculated that the Stalinist regime could have been active in preventing Gramsci's release from prison due to his perceived Trotskyist sympathies.
| 13
|
[
"Antonio Gramsci",
"medical condition",
"Pott disease"
] |
Life
Early life
Gramsci was born in Ales, in the province of Oristano, on the island of Sardinia, the fourth of seven sons of Francesco Gramsci (1860–1937) and Giuseppina Marcias (1861–1932). The senior Gramsci was a low-level official born in the small town of Gaeta, in the province of Latina (in the Central Italian region of Lazio), to a well-off family from the Southern Italian regions of Campania and Calabria and of Arbëreshë (Italo-Albanian) descent. Antonio Gramsci himself believed his father's family had left Albania as recently as 1821. The Albanian origin of his father's family is attested in the surname Gramsci, an Italianized form of Gramshi, that stems from the definite noun of the placename Gramsh, a small town in central-eastern Albania. Antonio Gramsci's mother belonged to a Sardinian landowning family from Sorgono (in the province of Nuoro). The senior Gramsci's financial difficulties and troubles with the police forced the family to move about through several villages in Sardinia until they finally settled in Ghilarza.In 1898, Francesco was convicted of embezzlement and imprisoned, reducing his family to destitution. The young Antonio had to abandon schooling and work at various casual jobs until his father's release in 1904. As a boy, Gramsci suffered from health problems, particularly a malformation of the spine that stunted his growth (his adult height was less than 5 feet) and left him seriously hunchbacked. For decades, it was reported that his condition had been due to a childhood accident – specifically, having been dropped by a nanny – but more recently it has been suggested that it was due to Pott disease, a form of tuberculosis that can cause deformity of the spine. Gramsci was also plagued by various internal disorders throughout his life.
Gramsci started secondary school in Santu Lussurgiu and completed it in Cagliari, where he lodged with his elder brother Gennaro, a former soldier whose time on the mainland had made him a militant socialist. However, Gramsci's sympathies then did not lie with socialism, but rather with the grievances of impoverished Sardinian peasants and miners, whose mistreatment by the mainlanders would later deeply contribute to his intellectual growth. They perceived their neglect as a result of privileges enjoyed by the rapidly industrialising North, and they tended to turn to a growing Sardinian nationalism, brutally repressed by troops from the Italian mainland, as a response.
| 21
|
[
"Antonio Gramsci",
"notable work",
"Prison Notebooks"
] |
Philosophical work
Gramsci was one of the most influential Marxist thinkers of the 20th century, and a particularly key thinker in the development of Western Marxism. He wrote more than 30 notebooks and 3,000 pages of history and analysis during his imprisonment. These writings, known as the Prison Notebooks, contain Gramsci's tracing of Italian history and nationalism, as well as some ideas in Marxist theory, critical theory and educational theory associated with his name, such as:
| 44
|
[
"Antonio Gramsci",
"family name",
"Gramsci"
] |
Life
Early life
Gramsci was born in Ales, in the province of Oristano, on the island of Sardinia, the fourth of seven sons of Francesco Gramsci (1860–1937) and Giuseppina Marcias (1861–1932). The senior Gramsci was a low-level official born in the small town of Gaeta, in the province of Latina (in the Central Italian region of Lazio), to a well-off family from the Southern Italian regions of Campania and Calabria and of Arbëreshë (Italo-Albanian) descent. Antonio Gramsci himself believed his father's family had left Albania as recently as 1821. The Albanian origin of his father's family is attested in the surname Gramsci, an Italianized form of Gramshi, that stems from the definite noun of the placename Gramsh, a small town in central-eastern Albania. Antonio Gramsci's mother belonged to a Sardinian landowning family from Sorgono (in the province of Nuoro). The senior Gramsci's financial difficulties and troubles with the police forced the family to move about through several villages in Sardinia until they finally settled in Ghilarza.In 1898, Francesco was convicted of embezzlement and imprisoned, reducing his family to destitution. The young Antonio had to abandon schooling and work at various casual jobs until his father's release in 1904. As a boy, Gramsci suffered from health problems, particularly a malformation of the spine that stunted his growth (his adult height was less than 5 feet) and left him seriously hunchbacked. For decades, it was reported that his condition had been due to a childhood accident – specifically, having been dropped by a nanny – but more recently it has been suggested that it was due to Pott disease, a form of tuberculosis that can cause deformity of the spine. Gramsci was also plagued by various internal disorders throughout his life.
Gramsci started secondary school in Santu Lussurgiu and completed it in Cagliari, where he lodged with his elder brother Gennaro, a former soldier whose time on the mainland had made him a militant socialist. However, Gramsci's sympathies then did not lie with socialism, but rather with the grievances of impoverished Sardinian peasants and miners, whose mistreatment by the mainlanders would later deeply contribute to his intellectual growth. They perceived their neglect as a result of privileges enjoyed by the rapidly industrialising North, and they tended to turn to a growing Sardinian nationalism, brutally repressed by troops from the Italian mainland, as a response.
| 54
|
[
"Antonio Gramsci",
"member of political party",
"Italian Communist Party"
] |
Antonio Francesco Gramsci (UK: GRAM-shee, US: GRAHM-shee, Italian: [anˈtɔːnjo franˈtʃesko ˈɡramʃi] (listen); 22 January 1891 – 27 April 1937) was an Italian Marxist philosopher, journalist, linguist, writer, and politician. He wrote on philosophy, political theory, sociology, history, and linguistics. He was a founding member and one-time leader of the Italian Communist Party. A vocal critic of Benito Mussolini and fascism, he was imprisoned in 1926 where he remained until his death in 1937.
During his imprisonment, Gramsci wrote more than 30 notebooks and 3,000 pages of history and analysis. His Prison Notebooks are considered a highly original contribution to 20th-century political theory. Gramsci drew insights from varying sources – not only other Marxists but also thinkers such as Niccolò Machiavelli, Vilfredo Pareto, Georges Sorel, and Benedetto Croce. The notebooks cover a wide range of topics, including Italian history and nationalism, the French Revolution, fascism, Taylorism and Fordism, civil society, folklore, religion, and high and popular culture.
Gramsci is best known for his theory of cultural hegemony, which describes how the state and ruling capitalist class – the bourgeoisie – use cultural institutions to maintain power in capitalist societies. The bourgeoisie, in Gramsci's view, develops a hegemonic culture using ideology, rather than violence, economic force, or coercion. Hegemonic culture propagates its own values and norms so that they become the "common sense" values of all and thus maintain the status quo. Cultural hegemony is therefore used to maintain consent to the capitalist order, rather than the use of force to maintain order. This cultural hegemony is produced and reproduced by the dominant class through the institutions that form the superstructure.
Gramsci also attempted to break from the economic determinism of traditional Marxist thought, and so is sometimes described as a neo-Marxist. He held a humanistic understanding of Marxism, seeing it as a "philosophy of praxis" and an "absolute historicism" that transcends traditional materialism and traditional idealism.
| 58
|
[
"Antonio Gramsci",
"place of burial",
"Protestant Cemetery, Rome"
] |
Imprisonment and death
On 9 November 1926, the Fascist government enacted a new wave of emergency laws, taking as a pretext an alleged attempt on Mussolini's life that had occurred several days earlier. The fascist police arrested Gramsci, despite his parliamentary immunity, and brought him to the Roman prison Regina Coeli.
At his trial, Gramsci's prosecutor stated, "For twenty years we must stop this brain from functioning". He received an immediate sentence of five years in confinement on the island of Ustica and the following year he received a sentence of 20 years' imprisonment in Turi, near Bari.
Over 11 years in prison, his health deteriorated: "His teeth fell out, his digestive system collapsed so that he could not eat solid food ... he had convulsions when he vomited blood and suffered headaches so violent that he beat his head against the walls of his cell."An international campaign, organised by Piero Sraffa at Cambridge University and Gramsci's sister-in-law Tatiana, was mounted to demand Gramsci's release. In 1933 he was moved from the prison at Turi to a clinic at Formia, but was still being denied adequate medical attention. Two years later he was moved to the Quisisana clinic in Rome. He was due for release on 21 April 1937 and planned to retire to Sardinia for convalescence, but a combination of arteriosclerosis, pulmonary tuberculosis, high blood pressure, angina, gout, and acute gastric disorders meant that he was too ill to move. Gramsci died on 27 April 1937, at the age of 46. His ashes are buried in the Cimitero Acattolico in Rome. By moving Gramsci from prison to hospital when he became very ill, the Mussolini regime was attempting to avoid the accusation that it was his incarceration that caused his death. Nevertheless, his death was linked directly to prison conditions. Gramsci's grandson, Antonio Jr., speculated that the Stalinist regime could have been active in preventing Gramsci's release from prison due to his perceived Trotskyist sympathies.
| 62
|
[
"Pinturicchio",
"languages spoken, written or signed",
"Italian"
] |
Pinturicchio, or Pintoricchio (US: , Italian: [pintuˈrikkjo]; born Bernardino di Betto; 1454–1513), also known as Benetto di Biagio or Sordicchio, was an Italian painter during the Renaissance. He acquired his nickname (meaning "little painter") because of his small stature and he used it to sign some of his artworks that were created during the fifteenth and sixteenth centuries.
| 2
|
[
"Pinturicchio",
"movement",
"Renaissance"
] |
Pinturicchio, or Pintoricchio (US: , Italian: [pintuˈrikkjo]; born Bernardino di Betto; 1454–1513), also known as Benetto di Biagio or Sordicchio, was an Italian painter during the Renaissance. He acquired his nickname (meaning "little painter") because of his small stature and he used it to sign some of his artworks that were created during the fifteenth and sixteenth centuries.
| 9
|
[
"Pinturicchio",
"has works in the collection",
"Gemäldegalerie"
] |
Works
Miracles of St Bernardino (1473), Galleria Nazionale dell'Umbria, Perugia, Italy
Saint Jerome in the Desert (1475-1480), Walters Art Museum, Baltimore, Maryland, USA
The Crucifixion with Sts. Jerome and Christopher, c. 1475, oil on wood, 59 × 40 cm, Galleria Borghese, Rome
Della Rovere Chapel (late 1470s to 1482), Santa Maria del Popolo, Rome; including The Adoration of the Child with St. Jerome
Madonna with Writing Child and St. Jerome (c. 1481), 49.5 × 38 cm, Gemäldegalerie, Berlin, Germany
Assumption of Mary, fresco, Sistine Chapel (1481), later destroyed
Madonna with Blessing Child (c. 1480), National Gallery, London
Bufalini Chapel (c. 1484–1486), frescoes, Santa Maria in Aracoeli, Rome
Basso Della Rovere Chapel (c. 1484–1492), frescoes, Santa Maria del Popolo, Rome
Cybo Chapel (c. 1489–1503) in Santa Maria del Popolo, Rome (destroyed); including The Virgin and the Child now in the Cathedral of Massa
Costa Chapel (c. 1488–90), frescos, Santa Maria del Popolo, Rome: The Four Doctors of the Church
Madonna of Peace (c. 1490), oil on panel, 143 × 70 cm, Pinacoteca civica Tacchi-Venturi, San Severino Marche, Italy
Semi-Gods Ceiling (c. 1490), oil on paper on wood, Palazzo dei Penitenzieri, Rome
Nursing Madonna (1492), 29.2 × 21.6 cm, Sarah Campbell Blaffer Foundation, Houston, Texas, USA
Borgia Apartments (c. 1492–1494), frescoes. Vatican City, Rome
Madonna col Bambino e paesaggio 59 x 44 cm, Palazzo Baldeschi, Perugia, Italy
Madonna with Reading Child (c. 1494–1498), 33.7 × 25.4 cm, North Carolina Museum of Art, Raleigh, North Carolina, USA
Madonna with Writing Child (c. 1494–1498), 61 × 41.6 cm, Philadelphia Museum of Art, Philadelphia, USA
Madonna with Writing Child and Bishop (c. 1495), 158 × 77.3 cm, Museu de Belles Arts, Valencia, Spain
Eroli Chapel (1497), frescoes, Cathedral of Spoleto
Santa Maria dei Fossi Altarpiece, oil on panel and canvas, 513 × 314 cm, Galleria Nazionale dell'Umbria, Perugia, Italy
Portrait of a Boy (c. 1500), Gemäldegalerie Alte Meister, Dresden, Germany
Baglioni Chapel (c. 1500–1501). Santa Maria Maggiore, Spello, Italy
Piccolomini Library (1502–1507), frescoes, Cathedral of Siena, Italy
Coronation of Pius II (c. 1503–1508), fresco, Cathedral of Siena
St. John the Baptist Chapel (1504), Cathedral of Siena
Madonna Enthroned with Saints (1506–1508), 318 × 257 cm, church of Sant'Andrea, Spello
Virgin and Child (51,4 × 40,6) tempera and gold on wood panel, Alicem institute, Luxembourg
| 11
|
[
"Pinturicchio",
"notable work",
"Crucifixion between Sts. Jerome and Christopher"
] |
Works
Miracles of St Bernardino (1473), Galleria Nazionale dell'Umbria, Perugia, Italy
Saint Jerome in the Desert (1475-1480), Walters Art Museum, Baltimore, Maryland, USA
The Crucifixion with Sts. Jerome and Christopher, c. 1475, oil on wood, 59 × 40 cm, Galleria Borghese, Rome
Della Rovere Chapel (late 1470s to 1482), Santa Maria del Popolo, Rome; including The Adoration of the Child with St. Jerome
Madonna with Writing Child and St. Jerome (c. 1481), 49.5 × 38 cm, Gemäldegalerie, Berlin, Germany
Assumption of Mary, fresco, Sistine Chapel (1481), later destroyed
Madonna with Blessing Child (c. 1480), National Gallery, London
Bufalini Chapel (c. 1484–1486), frescoes, Santa Maria in Aracoeli, Rome
Basso Della Rovere Chapel (c. 1484–1492), frescoes, Santa Maria del Popolo, Rome
Cybo Chapel (c. 1489–1503) in Santa Maria del Popolo, Rome (destroyed); including The Virgin and the Child now in the Cathedral of Massa
Costa Chapel (c. 1488–90), frescos, Santa Maria del Popolo, Rome: The Four Doctors of the Church
Madonna of Peace (c. 1490), oil on panel, 143 × 70 cm, Pinacoteca civica Tacchi-Venturi, San Severino Marche, Italy
Semi-Gods Ceiling (c. 1490), oil on paper on wood, Palazzo dei Penitenzieri, Rome
Nursing Madonna (1492), 29.2 × 21.6 cm, Sarah Campbell Blaffer Foundation, Houston, Texas, USA
Borgia Apartments (c. 1492–1494), frescoes. Vatican City, Rome
Madonna col Bambino e paesaggio 59 x 44 cm, Palazzo Baldeschi, Perugia, Italy
Madonna with Reading Child (c. 1494–1498), 33.7 × 25.4 cm, North Carolina Museum of Art, Raleigh, North Carolina, USA
Madonna with Writing Child (c. 1494–1498), 61 × 41.6 cm, Philadelphia Museum of Art, Philadelphia, USA
Madonna with Writing Child and Bishop (c. 1495), 158 × 77.3 cm, Museu de Belles Arts, Valencia, Spain
Eroli Chapel (1497), frescoes, Cathedral of Spoleto
Santa Maria dei Fossi Altarpiece, oil on panel and canvas, 513 × 314 cm, Galleria Nazionale dell'Umbria, Perugia, Italy
Portrait of a Boy (c. 1500), Gemäldegalerie Alte Meister, Dresden, Germany
Baglioni Chapel (c. 1500–1501). Santa Maria Maggiore, Spello, Italy
Piccolomini Library (1502–1507), frescoes, Cathedral of Siena, Italy
Coronation of Pius II (c. 1503–1508), fresco, Cathedral of Siena
St. John the Baptist Chapel (1504), Cathedral of Siena
Madonna Enthroned with Saints (1506–1508), 318 × 257 cm, church of Sant'Andrea, Spello
Virgin and Child (51,4 × 40,6) tempera and gold on wood panel, Alicem institute, Luxembourg
| 20
|
[
"Pinturicchio",
"given name",
"Bernardino"
] |
Pinturicchio, or Pintoricchio (US: , Italian: [pintuˈrikkjo]; born Bernardino di Betto; 1454–1513), also known as Benetto di Biagio or Sordicchio, was an Italian painter during the Renaissance. He acquired his nickname (meaning "little painter") because of his small stature and he used it to sign some of his artworks that were created during the fifteenth and sixteenth centuries.
| 22
|
[
"Pinturicchio",
"has works in the collection",
"Borgia Apartment"
] |
Works in the Vatican Library
In 1492, Pinturicchio was summoned to Orvieto Cathedral. He was employed by Pope Alexander VI (Borgia) to decorate a recently completed suite of six rooms, the Borgia Apartments in the Apostolic Palace of the Vatican. These rooms now form part of the Vatican Library, and five still retain a series of Pinturicchio frescoes. The Umbrian painter worked in these rooms until around 1494, assisted by his pupils, and not without interruption. It was not until Pope Alexander VI died that Pinturicchio left Rome for Umbria, leaving much of the work in Rome to be completed by Michelangelo, Raphael, and company.His other chief frescoes in Rome that still exist in good condition, are in the Bufalini Chapel in the southwest sector of Santa Maria in Ara Coeli, probably executed around 1484–1486. On the altar wall is a grand painting of St. Bernardino of Siena between two other saints, crowned by angels; in the upper part is a figure of Christ in a mandorla, surrounded by angel musicians; on the left wall is a large fresco of the miracles performed by the corpse of St. Bernardino, which includes portraits of members of the sponsoring Bufalini family.
One group of three women, the central figure with a child at her breast, recalls the grace of Raphael's second manner. The composition of the main group around the saint's corpse appears to have been suggested by Giotto's painting of St. Francis on his bier that is found in Santa Croce at Florence. On the vault are four noble figures of the Evangelists, usually attributed to Luca Signorelli, but as with the rest of the frescoes in this chapel, more likely are by the hand of Pinturicchio. On the vault of the sacristy of Santa Cecilia in Trastevere, Pinturicchio painted the "Almighty" surrounded by the Evangelists. During a visit to Orvieto in 1496, Pinturicchio painted two more figures of the Latin Doctors in the choir of the Duomo. Now, like the rest of his work at Orvieto, these figures are almost destroyed. For these he received fifty gold ducats. In Umbria, his masterpiece is the Baglioni Chapel in the church of S. Maria Maggiore in Spello.
Among his panel paintings the following are the most important. An altarpiece for S. Maria de' Fossi at Perugia, painted in 1496–1498, now moved to the city gallery, depicts a Madonna enthroned among Saints, very minutely painted; the wings of the retable have standing figures of St. Augustine and St. Jerome; and the predella has paintings in miniature of the Annunciation and the Evangelists. Another fine altarpiece, similar in delicacy of detail, and probably painted about the same time, is that in the cathedral of San Severino — the Madonna enthroned looks down toward the kneeling donor. In beauty of face and expression, the angels at the sides recall the manner of Lorenzo di Credi or Da Vinci.
The Vatican gallery has the largest of Pinturicchio's panels — the Coronation of the Virgin, with the apostles and other saints below. Several well-executed portraits occur among the kneeling saints. The Virgin, who kneels at Christ's feet to receive her crown, is a figure of great tenderness and beauty, and the lower group is composed with great skill and grace in arrangement.
In 1504, he designed a mosaic floor panel for the Cathedral of Siena: the Story of Fortuna, or the Hill of Virtue. This was executed by Paolo Mannucci in 1506. On top of the panel, a symbolic representation of Knowledge hands the palm of victory to Socrates.
Among the public collections holding works by Pinturicchio are, the Ashmolean Museum (University of Oxford), Biblioteca Ambrosiana (Milan), the Cleveland Museum of Art, the Courtauld Institute of Art (London), the Denver Art Museum, the Fitzwilliam Museum (University of Cambridge), the Honolulu Museum of Art, the Louvre, the Museum of Fine Arts, Boston, the National Gallery, London, Palazzo Ruspoli (Rome), the Philadelphia Museum of Art, the Pinacoteca Ambrosiana (Milan), Princeton University Art Museum, Walters Art Museum in Baltimore, the Vatican Museums, and the Museum of Fine Arts (Budapest).Works
Miracles of St Bernardino (1473), Galleria Nazionale dell'Umbria, Perugia, Italy
Saint Jerome in the Desert (1475-1480), Walters Art Museum, Baltimore, Maryland, USA
The Crucifixion with Sts. Jerome and Christopher, c. 1475, oil on wood, 59 × 40 cm, Galleria Borghese, Rome
Della Rovere Chapel (late 1470s to 1482), Santa Maria del Popolo, Rome; including The Adoration of the Child with St. Jerome
Madonna with Writing Child and St. Jerome (c. 1481), 49.5 × 38 cm, Gemäldegalerie, Berlin, Germany
Assumption of Mary, fresco, Sistine Chapel (1481), later destroyed
Madonna with Blessing Child (c. 1480), National Gallery, London
Bufalini Chapel (c. 1484–1486), frescoes, Santa Maria in Aracoeli, Rome
Basso Della Rovere Chapel (c. 1484–1492), frescoes, Santa Maria del Popolo, Rome
Cybo Chapel (c. 1489–1503) in Santa Maria del Popolo, Rome (destroyed); including The Virgin and the Child now in the Cathedral of Massa
Costa Chapel (c. 1488–90), frescos, Santa Maria del Popolo, Rome: The Four Doctors of the Church
Madonna of Peace (c. 1490), oil on panel, 143 × 70 cm, Pinacoteca civica Tacchi-Venturi, San Severino Marche, Italy
Semi-Gods Ceiling (c. 1490), oil on paper on wood, Palazzo dei Penitenzieri, Rome
Nursing Madonna (1492), 29.2 × 21.6 cm, Sarah Campbell Blaffer Foundation, Houston, Texas, USA
Borgia Apartments (c. 1492–1494), frescoes. Vatican City, Rome
Madonna col Bambino e paesaggio 59 x 44 cm, Palazzo Baldeschi, Perugia, Italy
Madonna with Reading Child (c. 1494–1498), 33.7 × 25.4 cm, North Carolina Museum of Art, Raleigh, North Carolina, USA
Madonna with Writing Child (c. 1494–1498), 61 × 41.6 cm, Philadelphia Museum of Art, Philadelphia, USA
Madonna with Writing Child and Bishop (c. 1495), 158 × 77.3 cm, Museu de Belles Arts, Valencia, Spain
Eroli Chapel (1497), frescoes, Cathedral of Spoleto
Santa Maria dei Fossi Altarpiece, oil on panel and canvas, 513 × 314 cm, Galleria Nazionale dell'Umbria, Perugia, Italy
Portrait of a Boy (c. 1500), Gemäldegalerie Alte Meister, Dresden, Germany
Baglioni Chapel (c. 1500–1501). Santa Maria Maggiore, Spello, Italy
Piccolomini Library (1502–1507), frescoes, Cathedral of Siena, Italy
Coronation of Pius II (c. 1503–1508), fresco, Cathedral of Siena
St. John the Baptist Chapel (1504), Cathedral of Siena
Madonna Enthroned with Saints (1506–1508), 318 × 257 cm, church of Sant'Andrea, Spello
Virgin and Child (51,4 × 40,6) tempera and gold on wood panel, Alicem institute, Luxembourg
| 24
|
[
"Pinturicchio",
"has works in the collection",
"Vatican Museums"
] |
Works in the Vatican Library
In 1492, Pinturicchio was summoned to Orvieto Cathedral. He was employed by Pope Alexander VI (Borgia) to decorate a recently completed suite of six rooms, the Borgia Apartments in the Apostolic Palace of the Vatican. These rooms now form part of the Vatican Library, and five still retain a series of Pinturicchio frescoes. The Umbrian painter worked in these rooms until around 1494, assisted by his pupils, and not without interruption. It was not until Pope Alexander VI died that Pinturicchio left Rome for Umbria, leaving much of the work in Rome to be completed by Michelangelo, Raphael, and company.His other chief frescoes in Rome that still exist in good condition, are in the Bufalini Chapel in the southwest sector of Santa Maria in Ara Coeli, probably executed around 1484–1486. On the altar wall is a grand painting of St. Bernardino of Siena between two other saints, crowned by angels; in the upper part is a figure of Christ in a mandorla, surrounded by angel musicians; on the left wall is a large fresco of the miracles performed by the corpse of St. Bernardino, which includes portraits of members of the sponsoring Bufalini family.
One group of three women, the central figure with a child at her breast, recalls the grace of Raphael's second manner. The composition of the main group around the saint's corpse appears to have been suggested by Giotto's painting of St. Francis on his bier that is found in Santa Croce at Florence. On the vault are four noble figures of the Evangelists, usually attributed to Luca Signorelli, but as with the rest of the frescoes in this chapel, more likely are by the hand of Pinturicchio. On the vault of the sacristy of Santa Cecilia in Trastevere, Pinturicchio painted the "Almighty" surrounded by the Evangelists. During a visit to Orvieto in 1496, Pinturicchio painted two more figures of the Latin Doctors in the choir of the Duomo. Now, like the rest of his work at Orvieto, these figures are almost destroyed. For these he received fifty gold ducats. In Umbria, his masterpiece is the Baglioni Chapel in the church of S. Maria Maggiore in Spello.
Among his panel paintings the following are the most important. An altarpiece for S. Maria de' Fossi at Perugia, painted in 1496–1498, now moved to the city gallery, depicts a Madonna enthroned among Saints, very minutely painted; the wings of the retable have standing figures of St. Augustine and St. Jerome; and the predella has paintings in miniature of the Annunciation and the Evangelists. Another fine altarpiece, similar in delicacy of detail, and probably painted about the same time, is that in the cathedral of San Severino — the Madonna enthroned looks down toward the kneeling donor. In beauty of face and expression, the angels at the sides recall the manner of Lorenzo di Credi or Da Vinci.
The Vatican gallery has the largest of Pinturicchio's panels — the Coronation of the Virgin, with the apostles and other saints below. Several well-executed portraits occur among the kneeling saints. The Virgin, who kneels at Christ's feet to receive her crown, is a figure of great tenderness and beauty, and the lower group is composed with great skill and grace in arrangement.
In 1504, he designed a mosaic floor panel for the Cathedral of Siena: the Story of Fortuna, or the Hill of Virtue. This was executed by Paolo Mannucci in 1506. On top of the panel, a symbolic representation of Knowledge hands the palm of victory to Socrates.
Among the public collections holding works by Pinturicchio are, the Ashmolean Museum (University of Oxford), Biblioteca Ambrosiana (Milan), the Cleveland Museum of Art, the Courtauld Institute of Art (London), the Denver Art Museum, the Fitzwilliam Museum (University of Cambridge), the Honolulu Museum of Art, the Louvre, the Museum of Fine Arts, Boston, the National Gallery, London, Palazzo Ruspoli (Rome), the Philadelphia Museum of Art, the Pinacoteca Ambrosiana (Milan), Princeton University Art Museum, Walters Art Museum in Baltimore, the Vatican Museums, and the Museum of Fine Arts (Budapest).
| 26
|
[
"Pinturicchio",
"student of",
"Pietro Perugino"
] |
Biography
Early years
Pinturicchio was born the son of Benedetto or Betto di Biagio, in Perugia. In his career, he may have trained under lesser known Perugian painters such as Bonfigli and Fiorenzo di Lorenzo. According to Vasari, Pinturicchio was a paid assistant of Perugino.
The works of the Perugian Renaissance school are very similar and often paintings by Perugino, Pinturicchio, Lo Spagna, and a young Raphael may be mistaken, one for the other. In the execution of large frescoes, pupils and assistants had a large share in the work, either in enlarging the master's sketch to the full-sized cartoon, in transferring the cartoon to the wall, or in painting backgrounds or accessories.
His assignment in Rome, to decorate the Sistine Chapel, was an experience fraught with learning from prominent artists of the time, including: Sandro Botticelli, Domenico Ghirlandaio, Pietro Vanucci, and Luca Signorelli. The Sistine Chapel was where it is believed that Pinturicchio was collaborating with Perugino to some extent. Pinturicchio's fresco, Assumption of Mary, executed in 1481 on the alter wall of the Sistine Chapel, was destroyed in 1535 to make way for Michelangelo's Last Judgement.Work in Santa Maria del Popolo in Rome
After assisting Perugino in his frescoes in the Sistine Chapel, Pinturicchio was employed by various members of the Della Rovere family to decorate the Semi-Gods Ceiling of Palazzo dei Penitenzieri as well as a series of chapels in the church of Santa Maria del Popolo, where he appears to have worked from 1484, or earlier, until 1492.
Critic Evelyn March Phillipps sums up his work by saying that the basilica "[w]ould be, if it had been left with all its original decorations, one of the finest monuments to Pintoricchio’s art in Italy. A great deal still remains, but much has been swept away".The earliest known of his works is an altarpiece of the Adoration of the Shepherds, in the Della Rovere Chapel, the first chapel (from the west) on the south, built by Cardinal Domenico della Rovere. In the lunettes under the vault Pinturicchio painted small scenes from the life of St. Jerome. The polychrome grotesque wall decoration on yellow-gold background probably was inspired by the paintings of the Domus Aurea, and belong the earliest and highest quality of their kind in Rome.
The frescos he painted in the Cybo Chapel, built by Cardinal Lorenzo Cybo de Mari in the beginning of the sixteenth century, were destroyed in 1682, when the chapel was rebuilt by Cardinal Alderano Cybo. The old fresco of the Virgin and the Child by Pinturicchio was detached from the wall and sent by the cardinal to Massa in 1687. The fragment was re-used as the altarpiece of the Ducal Chapel of the Cathedral of Massa.The third chapel on the south is that of Girolamo Basso della Rovere, nephew of Pope Sixtus IV, and bishop of Recanati. The Basso Della Rovere Chapel contains a fine altarpiece, Madonna enthroned between Four Saints, and on the eastern side a very nobly composed fresco of the Assumption of the Virgin. The vault and its lunettes are richly decorated with small paintings of the Life of the Virgin, surrounded by graceful arabesques; and the dado is covered with monochrome paintings of scenes from the lives of saints, illusionistic benches, and very gracefully and powerfully drawn figures of women in full length, in which the influence of Luca Signorelli may be traced.
In the Costa Chapel, Pinturicchio or one of his helpers painted the Four Latin Doctors in the lunettes of the vault. Most of these frescoes are considerably injured by moisture and have suffered little from restoration. The last paintings completed by Pinturicchio in this church are found on the vault behind the choir, where he painted decorative frescoes, with main lines arranged to suit their surroundings in a skilful way. In the centre is an octagonal panel, Coronation of the Virgin, and surrounding it, are medallions of the Four Evangelists. The spaces between them are filled by reclining figures of the Four Sibyls. On each pendentive is a figure of one of the Four Doctors enthroned under a niched canopy. The bands that separate these paintings have elaborate arabesques on a gold ground, and the whole is painted with broad and effective touches, very telling when seen (as is necessarily the case) from a considerable distance below.
| 38
|
[
"Pietro Perugino",
"instance of",
"human"
] |
Pietro Perugino (US: , Italian: [ˈpjɛːtro peruˈdʒiːno]; c. 1446/1452 – 1523), born Pietro Vannucci, was an Italian Renaissance painter of the Umbrian school, who developed some of the qualities that found classic expression in the High Renaissance. Raphael was his most famous pupil.
| 0
|
[
"Pietro Perugino",
"has works in the collection",
"Pitti Palace"
] |
Pietro Perugino (US: , Italian: [ˈpjɛːtro peruˈdʒiːno]; c. 1446/1452 – 1523), born Pietro Vannucci, was an Italian Renaissance painter of the Umbrian school, who developed some of the qualities that found classic expression in the High Renaissance. Raphael was his most famous pupil.
| 6
|
[
"Pietro Perugino",
"has works in the collection",
"Uffizi Gallery"
] |
Major works
The Delivery of the Keys (1481–1482) — Fresco, 335 × 600 cm, Sistine Chapel, Vatican City
Crucifixion (the Galitzin triptych, 1480s) — painted for San Domenico at San Gimignano, National Gallery, Washington
Pietà (c. 1483–1493) -Oil on panel, 168x176 cm, Uffizi Gallery, Florence
Cathedral of Saint Romulus of Fiesole - altarpiece, Fiesole, Italy
Annunciation of Fano (c. 1488–1490) -Oil on panel, 212x172 cm, church of Santa Maria Nuova, Fano
Portrait of Lorenzo di Credi (1488) -Oil on panel transferred to canvas, National Gallery of Art, Washington, D.C.
St. Sebastian (c. 1490) — Oil on panel, 174 × 88 cm, Nationalmuseum, Stockholm
St. Sebastian (c. 1490–1500) — Panel, 176 × 116 cm, Louvre, Paris
St. Sebastian (after 1490) — Oil on wood, 110 × 62 cm, Galleria Borghese, Rome
The Virgin appearing to St. Bernard (c. 1490–1494) — Oil on wood, 173 × 170 cm, Alte Pinakothek, Munich
Albani Torlonia Altarpiece (1491) - Tempera on panel, 174 x 88 cm, Torlonia Collection, Rome
Madonna with Child Enthroned between Saints John the Baptist and Sebastian (1493) - Oil on panel, 178x164 cm, Uffizi Gallery, Florence
St Sebastian (Perugino, Hermitage) (1493–1494) — Oil and tempera on panel, 53.8 × 39.5 cm, The Hermitage, St. Petersburg
Portrait of Francesco delle Opere (1494) - Oil on panel, 52 x 44 cm, Uffizi Gallery, Florence
Certosa di Pavia Altarpiece (1496–1500) - Oil on panel, 52 x 44 cm, National Gallery, London
Decemviri Altarpiece (1497) -Oil on panel, 193x165 cm, Pinacoteca Vaticana, Rome
Fano Altarpiece (1497) -Oil on panel, 262x215 cm, church of Santa Maria Nuova, Fano
San Francesco al Prato Resurrection (c. 1499–1501) -Oil on panel, 233x165 cm, Pinacoteca Vaticana, Rome
Vallombrosa Altarpiece (1500) -Oil on panel, 415x246 cm, Galleria dell'Accademia, Florence
Tezi Altarpiece (c. 1500) -Oil on panel, 180x158 cm, Galleria Nazionale dell'Umbria, Perugia
Madonna in Glory with Saints (c. 1500–1501) -Oil on panel, 330x265 cm, Pinacoteca Nazionale di Bologna
Marriage of the Virgin (1500–1504) — Oil on wood, 234 × 185, Musée des Beaux-Arts, Caen
St. Sebastian Bound to a Column (c. 1500–1510) — Oil on canvas, 181 × 115 cm, São Paulo Museum of Art, São Paulo, Brazil
Combat of Love and Chastity (1503) — Tempera on canvas, 160 x 191 cm, painted for Isabella d'Este studiolo, Louvre, Paris
Annunziata Polyptych (1504–1507) – Oil on panel, 334 x 225 cm (the main panel), Gallerie dell'Accademia and Annunziata, Florence
The Nativity: the Virgin, St. Joseph, and the Shepherds adoring the Infant Christ (c. 1522) — Fresco transferred to canvas from S. Maria Assunta, at Fontignano, 254 x 594 cm, Victoria & Albert Museum, London
Ascension of Christ (Sansepolcro Altarpiece; c. 1510) - Oil on panel, 332.5 x 266 cm, Sansepolcro Cathedral
Saint Bartholomew (1512–1523) – Oil on Panel, 89 x 71 cm, Part of polyptych Birmingham Museum of Art
Religious works, details, portraits
| 7
|
[
"Pietro Perugino",
"has works in the collection",
"São Paulo Museum of Art"
] |
Major works
The Delivery of the Keys (1481–1482) — Fresco, 335 × 600 cm, Sistine Chapel, Vatican City
Crucifixion (the Galitzin triptych, 1480s) — painted for San Domenico at San Gimignano, National Gallery, Washington
Pietà (c. 1483–1493) -Oil on panel, 168x176 cm, Uffizi Gallery, Florence
Cathedral of Saint Romulus of Fiesole - altarpiece, Fiesole, Italy
Annunciation of Fano (c. 1488–1490) -Oil on panel, 212x172 cm, church of Santa Maria Nuova, Fano
Portrait of Lorenzo di Credi (1488) -Oil on panel transferred to canvas, National Gallery of Art, Washington, D.C.
St. Sebastian (c. 1490) — Oil on panel, 174 × 88 cm, Nationalmuseum, Stockholm
St. Sebastian (c. 1490–1500) — Panel, 176 × 116 cm, Louvre, Paris
St. Sebastian (after 1490) — Oil on wood, 110 × 62 cm, Galleria Borghese, Rome
The Virgin appearing to St. Bernard (c. 1490–1494) — Oil on wood, 173 × 170 cm, Alte Pinakothek, Munich
Albani Torlonia Altarpiece (1491) - Tempera on panel, 174 x 88 cm, Torlonia Collection, Rome
Madonna with Child Enthroned between Saints John the Baptist and Sebastian (1493) - Oil on panel, 178x164 cm, Uffizi Gallery, Florence
St Sebastian (Perugino, Hermitage) (1493–1494) — Oil and tempera on panel, 53.8 × 39.5 cm, The Hermitage, St. Petersburg
Portrait of Francesco delle Opere (1494) - Oil on panel, 52 x 44 cm, Uffizi Gallery, Florence
Certosa di Pavia Altarpiece (1496–1500) - Oil on panel, 52 x 44 cm, National Gallery, London
Decemviri Altarpiece (1497) -Oil on panel, 193x165 cm, Pinacoteca Vaticana, Rome
Fano Altarpiece (1497) -Oil on panel, 262x215 cm, church of Santa Maria Nuova, Fano
San Francesco al Prato Resurrection (c. 1499–1501) -Oil on panel, 233x165 cm, Pinacoteca Vaticana, Rome
Vallombrosa Altarpiece (1500) -Oil on panel, 415x246 cm, Galleria dell'Accademia, Florence
Tezi Altarpiece (c. 1500) -Oil on panel, 180x158 cm, Galleria Nazionale dell'Umbria, Perugia
Madonna in Glory with Saints (c. 1500–1501) -Oil on panel, 330x265 cm, Pinacoteca Nazionale di Bologna
Marriage of the Virgin (1500–1504) — Oil on wood, 234 × 185, Musée des Beaux-Arts, Caen
St. Sebastian Bound to a Column (c. 1500–1510) — Oil on canvas, 181 × 115 cm, São Paulo Museum of Art, São Paulo, Brazil
Combat of Love and Chastity (1503) — Tempera on canvas, 160 x 191 cm, painted for Isabella d'Este studiolo, Louvre, Paris
Annunziata Polyptych (1504–1507) – Oil on panel, 334 x 225 cm (the main panel), Gallerie dell'Accademia and Annunziata, Florence
The Nativity: the Virgin, St. Joseph, and the Shepherds adoring the Infant Christ (c. 1522) — Fresco transferred to canvas from S. Maria Assunta, at Fontignano, 254 x 594 cm, Victoria & Albert Museum, London
Ascension of Christ (Sansepolcro Altarpiece; c. 1510) - Oil on panel, 332.5 x 266 cm, Sansepolcro Cathedral
Saint Bartholomew (1512–1523) – Oil on Panel, 89 x 71 cm, Part of polyptych Birmingham Museum of Art
Religious works, details, portraits
| 8
|
[
"Pietro Perugino",
"languages spoken, written or signed",
"Italian"
] |
Pietro Perugino (US: , Italian: [ˈpjɛːtro peruˈdʒiːno]; c. 1446/1452 – 1523), born Pietro Vannucci, was an Italian Renaissance painter of the Umbrian school, who developed some of the qualities that found classic expression in the High Renaissance. Raphael was his most famous pupil.
| 10
|
[
"Pietro Perugino",
"work location",
"Florence"
] |
Rome
Perugino returned from Florence to Perugia, where his Florentine training showed in the Adoration of the Magi for the church of Santa Maria dei Servi of Perugia (c. 1476). In about 1480, he was called to Rome by Sixtus IV to paint fresco panels for the Sistine Chapel walls. The frescoes he executed there included Moses and Zipporah (often attributed to Luca Signorelli), the Baptism of Christ, and Delivery of the Keys. Pinturicchio accompanied Perugino to Rome, and was made his partner, receiving a third of the profits. He may have done some of the Zipporah subject. The Sistine frescoes were the major high Renaissance commission in Rome. The altar wall was also painted with the Assumption, the Nativity, and Moses in the Bulrushes. These works were later destroyed to make a space for Michelangelo's Last Judgement.
Between 1486 and 1499, Perugino worked mostly in Florence, making one journey to Rome and several to Perugia, where he may have maintained a second studio. He had an established studio in Florence, and received a great number of commissions. His Pietà (1483–1493) in the Uffizi is an uncharacteristically stark work that avoids Perugino's sometimes too easy sentimental piety.
According to Vasari, Perugino was to return to Florence in September 1493 to marry Chiara, daughter of architect Luca Fancelli. The same year, Perugino made Florence his permanent home once again, though he continued to accept some work elsewhere.In 1495, he signed and dated a Deposition for the Florentine convent of Santa Chiara (Palazzo Pitti). Toward 1496 he frescoed a crucifixion, commissioned in 1493 for Maria Maddalena de' Pazzi, Florence (the Pazzi Crucifixion). The attribution to him of the painting of the marriage of Joseph and the Virgin Mary (the Sposalizio) now in the museum of Caen, which indisputably served as the original, to a great extent, of the still more famous Sposalizio painted by Raphael in 1504 (Brera, Milan), is now questioned, and it is assigned to Lo Spagna. A vastly finer work of Perugino's was the polyptych of the Ascension of Christ painted ca 1496–98 for the church of S. Pietro of Perugia, (Municipal Museum, Lyon); the other portions of the same altarpiece are dispersed in other galleries.
In the chapel of the Disciplinati of Città della Pieve is an Adoration of the Magi, a square of 6.5 m containing about thirty life-sized figures; this was executed, with scarcely credible celerity, from March 1 to 25 (or thereabouts) in 1505, and must no doubt be in great part the work of Vannucci's pupils. In 1507, when the master's work had for years been in a course of decline and his performances were generally weak, he produced, nevertheless, one of his best paintings, the Virgin between Saint Jerome and Saint Francis, now in the Palazzo Penna. In the church of S. Onofrio in Florence is a much lauded and much debated fresco of the Last Supper, a careful and blandly correct but uninspired work; it has been ascribed to Perugino by some connoisseurs, by others to Raphael; it may more probably be by some different pupil of the Umbrian master.
Among his pupils were Raphael, upon whose early work Perugino's influence is most noticeable, Pompeo Cocchi,: 61 Eusebio da San Giorgio,: 62 Mariano di Eusterio,: 63 and Giovanni di Pietro (lo Spagna).
| 11
|
[
"Pietro Perugino",
"has works in the collection",
"Hermitage Museum"
] |
Major works
The Delivery of the Keys (1481–1482) — Fresco, 335 × 600 cm, Sistine Chapel, Vatican City
Crucifixion (the Galitzin triptych, 1480s) — painted for San Domenico at San Gimignano, National Gallery, Washington
Pietà (c. 1483–1493) -Oil on panel, 168x176 cm, Uffizi Gallery, Florence
Cathedral of Saint Romulus of Fiesole - altarpiece, Fiesole, Italy
Annunciation of Fano (c. 1488–1490) -Oil on panel, 212x172 cm, church of Santa Maria Nuova, Fano
Portrait of Lorenzo di Credi (1488) -Oil on panel transferred to canvas, National Gallery of Art, Washington, D.C.
St. Sebastian (c. 1490) — Oil on panel, 174 × 88 cm, Nationalmuseum, Stockholm
St. Sebastian (c. 1490–1500) — Panel, 176 × 116 cm, Louvre, Paris
St. Sebastian (after 1490) — Oil on wood, 110 × 62 cm, Galleria Borghese, Rome
The Virgin appearing to St. Bernard (c. 1490–1494) — Oil on wood, 173 × 170 cm, Alte Pinakothek, Munich
Albani Torlonia Altarpiece (1491) - Tempera on panel, 174 x 88 cm, Torlonia Collection, Rome
Madonna with Child Enthroned between Saints John the Baptist and Sebastian (1493) - Oil on panel, 178x164 cm, Uffizi Gallery, Florence
St Sebastian (Perugino, Hermitage) (1493–1494) — Oil and tempera on panel, 53.8 × 39.5 cm, The Hermitage, St. Petersburg
Portrait of Francesco delle Opere (1494) - Oil on panel, 52 x 44 cm, Uffizi Gallery, Florence
Certosa di Pavia Altarpiece (1496–1500) - Oil on panel, 52 x 44 cm, National Gallery, London
Decemviri Altarpiece (1497) -Oil on panel, 193x165 cm, Pinacoteca Vaticana, Rome
Fano Altarpiece (1497) -Oil on panel, 262x215 cm, church of Santa Maria Nuova, Fano
San Francesco al Prato Resurrection (c. 1499–1501) -Oil on panel, 233x165 cm, Pinacoteca Vaticana, Rome
Vallombrosa Altarpiece (1500) -Oil on panel, 415x246 cm, Galleria dell'Accademia, Florence
Tezi Altarpiece (c. 1500) -Oil on panel, 180x158 cm, Galleria Nazionale dell'Umbria, Perugia
Madonna in Glory with Saints (c. 1500–1501) -Oil on panel, 330x265 cm, Pinacoteca Nazionale di Bologna
Marriage of the Virgin (1500–1504) — Oil on wood, 234 × 185, Musée des Beaux-Arts, Caen
St. Sebastian Bound to a Column (c. 1500–1510) — Oil on canvas, 181 × 115 cm, São Paulo Museum of Art, São Paulo, Brazil
Combat of Love and Chastity (1503) — Tempera on canvas, 160 x 191 cm, painted for Isabella d'Este studiolo, Louvre, Paris
Annunziata Polyptych (1504–1507) – Oil on panel, 334 x 225 cm (the main panel), Gallerie dell'Accademia and Annunziata, Florence
The Nativity: the Virgin, St. Joseph, and the Shepherds adoring the Infant Christ (c. 1522) — Fresco transferred to canvas from S. Maria Assunta, at Fontignano, 254 x 594 cm, Victoria & Albert Museum, London
Ascension of Christ (Sansepolcro Altarpiece; c. 1510) - Oil on panel, 332.5 x 266 cm, Sansepolcro Cathedral
Saint Bartholomew (1512–1523) – Oil on Panel, 89 x 71 cm, Part of polyptych Birmingham Museum of Art
Religious works, details, portraits
| 14
|
[
"Pietro Perugino",
"movement",
"Renaissance"
] |
Pietro Perugino (US: , Italian: [ˈpjɛːtro peruˈdʒiːno]; c. 1446/1452 – 1523), born Pietro Vannucci, was an Italian Renaissance painter of the Umbrian school, who developed some of the qualities that found classic expression in the High Renaissance. Raphael was his most famous pupil.
| 20
|
[
"Pietro Perugino",
"has works in the collection",
"National Gallery of Art"
] |
Major works
The Delivery of the Keys (1481–1482) — Fresco, 335 × 600 cm, Sistine Chapel, Vatican City
Crucifixion (the Galitzin triptych, 1480s) — painted for San Domenico at San Gimignano, National Gallery, Washington
Pietà (c. 1483–1493) -Oil on panel, 168x176 cm, Uffizi Gallery, Florence
Cathedral of Saint Romulus of Fiesole - altarpiece, Fiesole, Italy
Annunciation of Fano (c. 1488–1490) -Oil on panel, 212x172 cm, church of Santa Maria Nuova, Fano
Portrait of Lorenzo di Credi (1488) -Oil on panel transferred to canvas, National Gallery of Art, Washington, D.C.
St. Sebastian (c. 1490) — Oil on panel, 174 × 88 cm, Nationalmuseum, Stockholm
St. Sebastian (c. 1490–1500) — Panel, 176 × 116 cm, Louvre, Paris
St. Sebastian (after 1490) — Oil on wood, 110 × 62 cm, Galleria Borghese, Rome
The Virgin appearing to St. Bernard (c. 1490–1494) — Oil on wood, 173 × 170 cm, Alte Pinakothek, Munich
Albani Torlonia Altarpiece (1491) - Tempera on panel, 174 x 88 cm, Torlonia Collection, Rome
Madonna with Child Enthroned between Saints John the Baptist and Sebastian (1493) - Oil on panel, 178x164 cm, Uffizi Gallery, Florence
St Sebastian (Perugino, Hermitage) (1493–1494) — Oil and tempera on panel, 53.8 × 39.5 cm, The Hermitage, St. Petersburg
Portrait of Francesco delle Opere (1494) - Oil on panel, 52 x 44 cm, Uffizi Gallery, Florence
Certosa di Pavia Altarpiece (1496–1500) - Oil on panel, 52 x 44 cm, National Gallery, London
Decemviri Altarpiece (1497) -Oil on panel, 193x165 cm, Pinacoteca Vaticana, Rome
Fano Altarpiece (1497) -Oil on panel, 262x215 cm, church of Santa Maria Nuova, Fano
San Francesco al Prato Resurrection (c. 1499–1501) -Oil on panel, 233x165 cm, Pinacoteca Vaticana, Rome
Vallombrosa Altarpiece (1500) -Oil on panel, 415x246 cm, Galleria dell'Accademia, Florence
Tezi Altarpiece (c. 1500) -Oil on panel, 180x158 cm, Galleria Nazionale dell'Umbria, Perugia
Madonna in Glory with Saints (c. 1500–1501) -Oil on panel, 330x265 cm, Pinacoteca Nazionale di Bologna
Marriage of the Virgin (1500–1504) — Oil on wood, 234 × 185, Musée des Beaux-Arts, Caen
St. Sebastian Bound to a Column (c. 1500–1510) — Oil on canvas, 181 × 115 cm, São Paulo Museum of Art, São Paulo, Brazil
Combat of Love and Chastity (1503) — Tempera on canvas, 160 x 191 cm, painted for Isabella d'Este studiolo, Louvre, Paris
Annunziata Polyptych (1504–1507) – Oil on panel, 334 x 225 cm (the main panel), Gallerie dell'Accademia and Annunziata, Florence
The Nativity: the Virgin, St. Joseph, and the Shepherds adoring the Infant Christ (c. 1522) — Fresco transferred to canvas from S. Maria Assunta, at Fontignano, 254 x 594 cm, Victoria & Albert Museum, London
Ascension of Christ (Sansepolcro Altarpiece; c. 1510) - Oil on panel, 332.5 x 266 cm, Sansepolcro Cathedral
Saint Bartholomew (1512–1523) – Oil on Panel, 89 x 71 cm, Part of polyptych Birmingham Museum of Art
Religious works, details, portraits
| 22
|
[
"Pietro Perugino",
"has works in the collection",
"Vatican Museums"
] |
Major works
The Delivery of the Keys (1481–1482) — Fresco, 335 × 600 cm, Sistine Chapel, Vatican City
Crucifixion (the Galitzin triptych, 1480s) — painted for San Domenico at San Gimignano, National Gallery, Washington
Pietà (c. 1483–1493) -Oil on panel, 168x176 cm, Uffizi Gallery, Florence
Cathedral of Saint Romulus of Fiesole - altarpiece, Fiesole, Italy
Annunciation of Fano (c. 1488–1490) -Oil on panel, 212x172 cm, church of Santa Maria Nuova, Fano
Portrait of Lorenzo di Credi (1488) -Oil on panel transferred to canvas, National Gallery of Art, Washington, D.C.
St. Sebastian (c. 1490) — Oil on panel, 174 × 88 cm, Nationalmuseum, Stockholm
St. Sebastian (c. 1490–1500) — Panel, 176 × 116 cm, Louvre, Paris
St. Sebastian (after 1490) — Oil on wood, 110 × 62 cm, Galleria Borghese, Rome
The Virgin appearing to St. Bernard (c. 1490–1494) — Oil on wood, 173 × 170 cm, Alte Pinakothek, Munich
Albani Torlonia Altarpiece (1491) - Tempera on panel, 174 x 88 cm, Torlonia Collection, Rome
Madonna with Child Enthroned between Saints John the Baptist and Sebastian (1493) - Oil on panel, 178x164 cm, Uffizi Gallery, Florence
St Sebastian (Perugino, Hermitage) (1493–1494) — Oil and tempera on panel, 53.8 × 39.5 cm, The Hermitage, St. Petersburg
Portrait of Francesco delle Opere (1494) - Oil on panel, 52 x 44 cm, Uffizi Gallery, Florence
Certosa di Pavia Altarpiece (1496–1500) - Oil on panel, 52 x 44 cm, National Gallery, London
Decemviri Altarpiece (1497) -Oil on panel, 193x165 cm, Pinacoteca Vaticana, Rome
Fano Altarpiece (1497) -Oil on panel, 262x215 cm, church of Santa Maria Nuova, Fano
San Francesco al Prato Resurrection (c. 1499–1501) -Oil on panel, 233x165 cm, Pinacoteca Vaticana, Rome
Vallombrosa Altarpiece (1500) -Oil on panel, 415x246 cm, Galleria dell'Accademia, Florence
Tezi Altarpiece (c. 1500) -Oil on panel, 180x158 cm, Galleria Nazionale dell'Umbria, Perugia
Madonna in Glory with Saints (c. 1500–1501) -Oil on panel, 330x265 cm, Pinacoteca Nazionale di Bologna
Marriage of the Virgin (1500–1504) — Oil on wood, 234 × 185, Musée des Beaux-Arts, Caen
St. Sebastian Bound to a Column (c. 1500–1510) — Oil on canvas, 181 × 115 cm, São Paulo Museum of Art, São Paulo, Brazil
Combat of Love and Chastity (1503) — Tempera on canvas, 160 x 191 cm, painted for Isabella d'Este studiolo, Louvre, Paris
Annunziata Polyptych (1504–1507) – Oil on panel, 334 x 225 cm (the main panel), Gallerie dell'Accademia and Annunziata, Florence
The Nativity: the Virgin, St. Joseph, and the Shepherds adoring the Infant Christ (c. 1522) — Fresco transferred to canvas from S. Maria Assunta, at Fontignano, 254 x 594 cm, Victoria & Albert Museum, London
Ascension of Christ (Sansepolcro Altarpiece; c. 1510) - Oil on panel, 332.5 x 266 cm, Sansepolcro Cathedral
Saint Bartholomew (1512–1523) – Oil on Panel, 89 x 71 cm, Part of polyptych Birmingham Museum of Art
Religious works, details, portraits
| 23
|
[
"Pietro Perugino",
"has works in the collection",
"National Gallery"
] |
Major works
The Delivery of the Keys (1481–1482) — Fresco, 335 × 600 cm, Sistine Chapel, Vatican City
Crucifixion (the Galitzin triptych, 1480s) — painted for San Domenico at San Gimignano, National Gallery, Washington
Pietà (c. 1483–1493) -Oil on panel, 168x176 cm, Uffizi Gallery, Florence
Cathedral of Saint Romulus of Fiesole - altarpiece, Fiesole, Italy
Annunciation of Fano (c. 1488–1490) -Oil on panel, 212x172 cm, church of Santa Maria Nuova, Fano
Portrait of Lorenzo di Credi (1488) -Oil on panel transferred to canvas, National Gallery of Art, Washington, D.C.
St. Sebastian (c. 1490) — Oil on panel, 174 × 88 cm, Nationalmuseum, Stockholm
St. Sebastian (c. 1490–1500) — Panel, 176 × 116 cm, Louvre, Paris
St. Sebastian (after 1490) — Oil on wood, 110 × 62 cm, Galleria Borghese, Rome
The Virgin appearing to St. Bernard (c. 1490–1494) — Oil on wood, 173 × 170 cm, Alte Pinakothek, Munich
Albani Torlonia Altarpiece (1491) - Tempera on panel, 174 x 88 cm, Torlonia Collection, Rome
Madonna with Child Enthroned between Saints John the Baptist and Sebastian (1493) - Oil on panel, 178x164 cm, Uffizi Gallery, Florence
St Sebastian (Perugino, Hermitage) (1493–1494) — Oil and tempera on panel, 53.8 × 39.5 cm, The Hermitage, St. Petersburg
Portrait of Francesco delle Opere (1494) - Oil on panel, 52 x 44 cm, Uffizi Gallery, Florence
Certosa di Pavia Altarpiece (1496–1500) - Oil on panel, 52 x 44 cm, National Gallery, London
Decemviri Altarpiece (1497) -Oil on panel, 193x165 cm, Pinacoteca Vaticana, Rome
Fano Altarpiece (1497) -Oil on panel, 262x215 cm, church of Santa Maria Nuova, Fano
San Francesco al Prato Resurrection (c. 1499–1501) -Oil on panel, 233x165 cm, Pinacoteca Vaticana, Rome
Vallombrosa Altarpiece (1500) -Oil on panel, 415x246 cm, Galleria dell'Accademia, Florence
Tezi Altarpiece (c. 1500) -Oil on panel, 180x158 cm, Galleria Nazionale dell'Umbria, Perugia
Madonna in Glory with Saints (c. 1500–1501) -Oil on panel, 330x265 cm, Pinacoteca Nazionale di Bologna
Marriage of the Virgin (1500–1504) — Oil on wood, 234 × 185, Musée des Beaux-Arts, Caen
St. Sebastian Bound to a Column (c. 1500–1510) — Oil on canvas, 181 × 115 cm, São Paulo Museum of Art, São Paulo, Brazil
Combat of Love and Chastity (1503) — Tempera on canvas, 160 x 191 cm, painted for Isabella d'Este studiolo, Louvre, Paris
Annunziata Polyptych (1504–1507) – Oil on panel, 334 x 225 cm (the main panel), Gallerie dell'Accademia and Annunziata, Florence
The Nativity: the Virgin, St. Joseph, and the Shepherds adoring the Infant Christ (c. 1522) — Fresco transferred to canvas from S. Maria Assunta, at Fontignano, 254 x 594 cm, Victoria & Albert Museum, London
Ascension of Christ (Sansepolcro Altarpiece; c. 1510) - Oil on panel, 332.5 x 266 cm, Sansepolcro Cathedral
Saint Bartholomew (1512–1523) – Oil on Panel, 89 x 71 cm, Part of polyptych Birmingham Museum of Art
Religious works, details, portraits
| 32
|
[
"Pietro Perugino",
"occupation",
"painter"
] |
Pietro Perugino (US: , Italian: [ˈpjɛːtro peruˈdʒiːno]; c. 1446/1452 – 1523), born Pietro Vannucci, was an Italian Renaissance painter of the Umbrian school, who developed some of the qualities that found classic expression in the High Renaissance. Raphael was his most famous pupil.
| 38
|
[
"Pietro Perugino",
"work location",
"Perugia"
] |
Pietro Perugino (US: , Italian: [ˈpjɛːtro peruˈdʒiːno]; c. 1446/1452 – 1523), born Pietro Vannucci, was an Italian Renaissance painter of the Umbrian school, who developed some of the qualities that found classic expression in the High Renaissance. Raphael was his most famous pupil.Early years
He was born Pietro Vannucci in Città della Pieve, Umbria, the son of Cristoforo Maria Vannucci. His nickname characterizes him as from Perugia, the chief city of Umbria. Scholars continue to dispute the socioeconomic status of the Vannucci family. While certain academics maintain that Vannucci worked his way out of poverty, others argue that his family was among the wealthiest in the town. His exact date of birth is not known, but based on his age at death that was mentioned by Vasari and Giovanni Santi, it is believed that he was born between 1446 and 1452.Pietro most likely began studying painting in local workshops in Perugia such as those of Bartolomeo Caporali or Fiorenzo di Lorenzo. The date of the first Florentine sojourn is unknown; some make it as early as 1466-1470, others push the date to 1479. According to Vasari, he was apprenticed to the workshop of Andrea del Verrocchio alongside Leonardo da Vinci, Domenico Ghirlandaio, Lorenzo di Credi, Filippino Lippi, and others. Piero della Francesca is thought to have taught him perspective form. In 1472, he must have completed his apprenticeship since he was enrolled as a master in the Confraternity of St Luke. Pietro, although very talented, was not extremely enthusiastic about his work.Perugino was one of the earliest Italian practitioners of oil painting. Some of his early works were extensive frescoes for the convent of the Ingessati fathers, destroyed during the Siege of Florence; he produced many cartoons for them also, which they executed with brilliant effect in stained glass. A good specimen of his early style in tempera is the tondo (circular picture) in the Musée du Louvre of the Virgin and Child Enthroned between Saints.
| 39
|
[
"Pietro Perugino",
"notable work",
"Pietà"
] |
Pietro Perugino (US: , Italian: [ˈpjɛːtro peruˈdʒiːno]; c. 1446/1452 – 1523), born Pietro Vannucci, was an Italian Renaissance painter of the Umbrian school, who developed some of the qualities that found classic expression in the High Renaissance. Raphael was his most famous pupil.
| 43
|
[
"Pietro Perugino",
"student",
"Raphael"
] |
Pietro Perugino (US: , Italian: [ˈpjɛːtro peruˈdʒiːno]; c. 1446/1452 – 1523), born Pietro Vannucci, was an Italian Renaissance painter of the Umbrian school, who developed some of the qualities that found classic expression in the High Renaissance. Raphael was his most famous pupil.Pope Julius II had summoned Perugino to paint the Stanza of the Incendio del Borgo in the Vatican City; but he soon preferred a younger competitor, Raphael, who had been trained by Perugino; and Vannucci, after painting the ceiling with figures of God the Father in different glories, in five medallion-subjects, retired from Rome to Perugia from 1512. Among his latest works, many of which decline into repetitious studio routine, one of the best is the extensive altarpiece (painted between 1512 and 1517) of the church of San Agostino in Perugia, also now dispersed.
Perugino's last frescoes were painted in the church of the Madonna delle Lacrime in Trevi (1521, signed and dated), the monastery of Sant'Agnese in Perugia, and in 1522 for the church of Castello di Fortignano. Both series have disappeared from their places, the second being now in the Victoria and Albert Museum. He was still at Fontignano in 1523 when he died of the plague. Like other plague victims, he was hastily buried in an unconsecrated field, the precise spot now unknown.
Vasari is the main source stating that Perugino had very little religion and openly doubted the soul's immortality. Perugino in 1494 painted his own portrait, now in the Uffizi Gallery, and into it, he introduced a scroll entitled Timete Deum (Fear God: Revelation 14:7). That an open disbeliever should inscribe himself with Timete Deum seems odd. The portrait in question shows a plump face, with small dark eyes, a short but well-cut nose, and sensuous lips; the neck is thick, the hair bushy and frizzled, and the general air imposing. The later portrait in the Cambio of Perugia shows the same face with traces of added years. Perugino died with considerable property, leaving three sons.
| 47
|
[
"Pietro Perugino",
"movement",
"Umbrian school"
] |
Pietro Perugino (US: , Italian: [ˈpjɛːtro peruˈdʒiːno]; c. 1446/1452 – 1523), born Pietro Vannucci, was an Italian Renaissance painter of the Umbrian school, who developed some of the qualities that found classic expression in the High Renaissance. Raphael was his most famous pupil.
| 55
|
[
"Pietro Perugino",
"described by source",
"Meyers Konversations-Lexikon, 4th edition (1885–1890)"
] |
Pietro Perugino (US: , Italian: [ˈpjɛːtro peruˈdʒiːno]; c. 1446/1452 – 1523), born Pietro Vannucci, was an Italian Renaissance painter of the Umbrian school, who developed some of the qualities that found classic expression in the High Renaissance. Raphael was his most famous pupil.
| 57
|
[
"Pietro Perugino",
"family name",
"Perugino"
] |
Pietro Perugino (US: , Italian: [ˈpjɛːtro peruˈdʒiːno]; c. 1446/1452 – 1523), born Pietro Vannucci, was an Italian Renaissance painter of the Umbrian school, who developed some of the qualities that found classic expression in the High Renaissance. Raphael was his most famous pupil.Early years
He was born Pietro Vannucci in Città della Pieve, Umbria, the son of Cristoforo Maria Vannucci. His nickname characterizes him as from Perugia, the chief city of Umbria. Scholars continue to dispute the socioeconomic status of the Vannucci family. While certain academics maintain that Vannucci worked his way out of poverty, others argue that his family was among the wealthiest in the town. His exact date of birth is not known, but based on his age at death that was mentioned by Vasari and Giovanni Santi, it is believed that he was born between 1446 and 1452.Pietro most likely began studying painting in local workshops in Perugia such as those of Bartolomeo Caporali or Fiorenzo di Lorenzo. The date of the first Florentine sojourn is unknown; some make it as early as 1466-1470, others push the date to 1479. According to Vasari, he was apprenticed to the workshop of Andrea del Verrocchio alongside Leonardo da Vinci, Domenico Ghirlandaio, Lorenzo di Credi, Filippino Lippi, and others. Piero della Francesca is thought to have taught him perspective form. In 1472, he must have completed his apprenticeship since he was enrolled as a master in the Confraternity of St Luke. Pietro, although very talented, was not extremely enthusiastic about his work.Perugino was one of the earliest Italian practitioners of oil painting. Some of his early works were extensive frescoes for the convent of the Ingessati fathers, destroyed during the Siege of Florence; he produced many cartoons for them also, which they executed with brilliant effect in stained glass. A good specimen of his early style in tempera is the tondo (circular picture) in the Musée du Louvre of the Virgin and Child Enthroned between Saints.
| 58
|
[
"Pietro Perugino",
"given name",
"Pietro"
] |
Pietro Perugino (US: , Italian: [ˈpjɛːtro peruˈdʒiːno]; c. 1446/1452 – 1523), born Pietro Vannucci, was an Italian Renaissance painter of the Umbrian school, who developed some of the qualities that found classic expression in the High Renaissance. Raphael was his most famous pupil.
| 62
|
[
"Pietro Perugino",
"manner of death",
"natural causes"
] |
Pietro Perugino (US: , Italian: [ˈpjɛːtro peruˈdʒiːno]; c. 1446/1452 – 1523), born Pietro Vannucci, was an Italian Renaissance painter of the Umbrian school, who developed some of the qualities that found classic expression in the High Renaissance. Raphael was his most famous pupil.
| 84
|
[
"Pietro Perugino",
"sex or gender",
"male"
] |
Pietro Perugino (US: , Italian: [ˈpjɛːtro peruˈdʒiːno]; c. 1446/1452 – 1523), born Pietro Vannucci, was an Italian Renaissance painter of the Umbrian school, who developed some of the qualities that found classic expression in the High Renaissance. Raphael was his most famous pupil.
| 85
|
[
"Pietro Perugino",
"place of birth",
"Città della Pieve"
] |
Early years
He was born Pietro Vannucci in Città della Pieve, Umbria, the son of Cristoforo Maria Vannucci. His nickname characterizes him as from Perugia, the chief city of Umbria. Scholars continue to dispute the socioeconomic status of the Vannucci family. While certain academics maintain that Vannucci worked his way out of poverty, others argue that his family was among the wealthiest in the town. His exact date of birth is not known, but based on his age at death that was mentioned by Vasari and Giovanni Santi, it is believed that he was born between 1446 and 1452.Pietro most likely began studying painting in local workshops in Perugia such as those of Bartolomeo Caporali or Fiorenzo di Lorenzo. The date of the first Florentine sojourn is unknown; some make it as early as 1466-1470, others push the date to 1479. According to Vasari, he was apprenticed to the workshop of Andrea del Verrocchio alongside Leonardo da Vinci, Domenico Ghirlandaio, Lorenzo di Credi, Filippino Lippi, and others. Piero della Francesca is thought to have taught him perspective form. In 1472, he must have completed his apprenticeship since he was enrolled as a master in the Confraternity of St Luke. Pietro, although very talented, was not extremely enthusiastic about his work.Perugino was one of the earliest Italian practitioners of oil painting. Some of his early works were extensive frescoes for the convent of the Ingessati fathers, destroyed during the Siege of Florence; he produced many cartoons for them also, which they executed with brilliant effect in stained glass. A good specimen of his early style in tempera is the tondo (circular picture) in the Musée du Louvre of the Virgin and Child Enthroned between Saints.
| 86
|
[
"Fra Bartolomeo",
"place of death",
"Florence"
] |
He died in Florence in 1517.
| 2
|
[
"Fra Bartolomeo",
"work location",
"Florence"
] |
He died in Florence in 1517.
| 4
|
[
"Fra Bartolomeo",
"religion or worldview",
"Catholic Church"
] |
Fra Bartolomeo or Bartolommeo (UK: , US: , Italian: [bartolo(m)ˈmɛːo]; 28 March 1472 – 31 October 1517), also known as Bartolommeo di Pagholo, Bartolommeo di San Marco, Paolo di Jacopo del Fattorino, and his original nickname Baccio della Porta, was an Italian Renaissance painter of religious subjects. He spent all his career in Florence until his mid-forties, when he travelled to work in various cities, as far south as Rome. He trained with Cosimo Rosselli and in the 1490s fell under the influence of Savonarola, which led him to become a Dominican friar in 1500, renouncing painting for several years. Typically his paintings are of static groups of figures in subjects such as the Virgin and Child with Saints.He was instructed to resume painting for the benefit of his order in 1504, and then developed an idealized High Renaissance style, seen in his Vision of St Bernard of that year, now in poor condition but whose "figures and drapery move with a seraphic grace that must have struck the young Raphael with the force of revelation". He remained friends with Raphael, and each influenced the other.
His portrait of Savonarola remains the best known image of the reformer. Fra Bartolomeo painted both in oils and fresco, and some of his drawings are pure landscape sketches that are the earliest of this type from any Italian artist.
| 23
|
[
"Fra Bartolomeo",
"notable work",
"Vision of St Bernard with Sts Benedict and John the Evangelist"
] |
Fra Bartolomeo or Bartolommeo (UK: , US: , Italian: [bartolo(m)ˈmɛːo]; 28 March 1472 – 31 October 1517), also known as Bartolommeo di Pagholo, Bartolommeo di San Marco, Paolo di Jacopo del Fattorino, and his original nickname Baccio della Porta, was an Italian Renaissance painter of religious subjects. He spent all his career in Florence until his mid-forties, when he travelled to work in various cities, as far south as Rome. He trained with Cosimo Rosselli and in the 1490s fell under the influence of Savonarola, which led him to become a Dominican friar in 1500, renouncing painting for several years. Typically his paintings are of static groups of figures in subjects such as the Virgin and Child with Saints.He was instructed to resume painting for the benefit of his order in 1504, and then developed an idealized High Renaissance style, seen in his Vision of St Bernard of that year, now in poor condition but whose "figures and drapery move with a seraphic grace that must have struck the young Raphael with the force of revelation". He remained friends with Raphael, and each influenced the other.
His portrait of Savonarola remains the best known image of the reformer. Fra Bartolomeo painted both in oils and fresco, and some of his drawings are pure landscape sketches that are the earliest of this type from any Italian artist.
| 30
|
[
"Fra Bartolomeo",
"topic's main category",
"Category:Fra Bartolomeo"
] |
Fra Bartolomeo or Bartolommeo (UK: , US: , Italian: [bartolo(m)ˈmɛːo]; 28 March 1472 – 31 October 1517), also known as Bartolommeo di Pagholo, Bartolommeo di San Marco, Paolo di Jacopo del Fattorino, and his original nickname Baccio della Porta, was an Italian Renaissance painter of religious subjects. He spent all his career in Florence until his mid-forties, when he travelled to work in various cities, as far south as Rome. He trained with Cosimo Rosselli and in the 1490s fell under the influence of Savonarola, which led him to become a Dominican friar in 1500, renouncing painting for several years. Typically his paintings are of static groups of figures in subjects such as the Virgin and Child with Saints.He was instructed to resume painting for the benefit of his order in 1504, and then developed an idealized High Renaissance style, seen in his Vision of St Bernard of that year, now in poor condition but whose "figures and drapery move with a seraphic grace that must have struck the young Raphael with the force of revelation". He remained friends with Raphael, and each influenced the other.
His portrait of Savonarola remains the best known image of the reformer. Fra Bartolomeo painted both in oils and fresco, and some of his drawings are pure landscape sketches that are the earliest of this type from any Italian artist.
| 33
|
[
"Fra Bartolomeo",
"family name",
"Bartolomeo"
] |
Fra Bartolomeo or Bartolommeo (UK: , US: , Italian: [bartolo(m)ˈmɛːo]; 28 March 1472 – 31 October 1517), also known as Bartolommeo di Pagholo, Bartolommeo di San Marco, Paolo di Jacopo del Fattorino, and his original nickname Baccio della Porta, was an Italian Renaissance painter of religious subjects. He spent all his career in Florence until his mid-forties, when he travelled to work in various cities, as far south as Rome. He trained with Cosimo Rosselli and in the 1490s fell under the influence of Savonarola, which led him to become a Dominican friar in 1500, renouncing painting for several years. Typically his paintings are of static groups of figures in subjects such as the Virgin and Child with Saints.He was instructed to resume painting for the benefit of his order in 1504, and then developed an idealized High Renaissance style, seen in his Vision of St Bernard of that year, now in poor condition but whose "figures and drapery move with a seraphic grace that must have struck the young Raphael with the force of revelation". He remained friends with Raphael, and each influenced the other.
His portrait of Savonarola remains the best known image of the reformer. Fra Bartolomeo painted both in oils and fresco, and some of his drawings are pure landscape sketches that are the earliest of this type from any Italian artist.
| 43
|
[
"Fra Bartolomeo",
"student of",
"Cosimo Rosselli"
] |
Fra Bartolomeo or Bartolommeo (UK: , US: , Italian: [bartolo(m)ˈmɛːo]; 28 March 1472 – 31 October 1517), also known as Bartolommeo di Pagholo, Bartolommeo di San Marco, Paolo di Jacopo del Fattorino, and his original nickname Baccio della Porta, was an Italian Renaissance painter of religious subjects. He spent all his career in Florence until his mid-forties, when he travelled to work in various cities, as far south as Rome. He trained with Cosimo Rosselli and in the 1490s fell under the influence of Savonarola, which led him to become a Dominican friar in 1500, renouncing painting for several years. Typically his paintings are of static groups of figures in subjects such as the Virgin and Child with Saints.He was instructed to resume painting for the benefit of his order in 1504, and then developed an idealized High Renaissance style, seen in his Vision of St Bernard of that year, now in poor condition but whose "figures and drapery move with a seraphic grace that must have struck the young Raphael with the force of revelation". He remained friends with Raphael, and each influenced the other.
His portrait of Savonarola remains the best known image of the reformer. Fra Bartolomeo painted both in oils and fresco, and some of his drawings are pure landscape sketches that are the earliest of this type from any Italian artist.
| 51
|
[
"Fra Bartolomeo",
"religious order",
"Dominican Order"
] |
Fra Bartolomeo or Bartolommeo (UK: , US: , Italian: [bartolo(m)ˈmɛːo]; 28 March 1472 – 31 October 1517), also known as Bartolommeo di Pagholo, Bartolommeo di San Marco, Paolo di Jacopo del Fattorino, and his original nickname Baccio della Porta, was an Italian Renaissance painter of religious subjects. He spent all his career in Florence until his mid-forties, when he travelled to work in various cities, as far south as Rome. He trained with Cosimo Rosselli and in the 1490s fell under the influence of Savonarola, which led him to become a Dominican friar in 1500, renouncing painting for several years. Typically his paintings are of static groups of figures in subjects such as the Virgin and Child with Saints.He was instructed to resume painting for the benefit of his order in 1504, and then developed an idealized High Renaissance style, seen in his Vision of St Bernard of that year, now in poor condition but whose "figures and drapery move with a seraphic grace that must have struck the young Raphael with the force of revelation". He remained friends with Raphael, and each influenced the other.
His portrait of Savonarola remains the best known image of the reformer. Fra Bartolomeo painted both in oils and fresco, and some of his drawings are pure landscape sketches that are the earliest of this type from any Italian artist.
| 62
|
[
"Bramantino",
"instance of",
"human"
] |
Bartolomeo Suardi, best known as Bramantino (c. 1456 – c. 1530), was an Italian painter and architect, mainly active in his native Milan.
| 0
|
[
"Bramantino",
"family name",
"Suardi"
] |
Bartolomeo Suardi, best known as Bramantino (c. 1456 – c. 1530), was an Italian painter and architect, mainly active in his native Milan.Biography
He was born in Milan, the son of Alberto Suardi, but his biography remains unclear, and was long complicated by two "Pseudo-Bramantinos". He was trained by Donato Bramante, adopting a diminutive form of his master's name. This training gave him influences from by the Urbino quattrocento tradition of immobile realism, and later he assimilated some elements of the style of Leonardo, after he arrived in Milan, although in other respects he remained faithful to his training in the style of Central Italy.
He is documented in late 1508 as helping in the decoration of the Vatican Stanze though nothing remains of his work there, and by 1509 he was back in Milan. His style changed considerably during his career, and also shows strongly individual traits. His main influences were the serene and sometimes unnatural quietist classicism of Piero della Francesca, Leonardo da Vinci, and Ercole de' Roberti, but his works also display a sometimes disquieting immobile expressiveness comparable only to the last of these three.
| 36
|
[
"Antonio da Correggio",
"instance of",
"human"
] |
Antonio Allegri da Correggio (August 1489 – 5 March 1534), usually known as just Correggio (, also UK: , US: , Italian: [korˈreddʒo]), was the foremost painter of the Parma school of the High Italian Renaissance, who was responsible for some of the most vigorous and sensuous works of the sixteenth century. In his use of dynamic composition, illusionistic perspective and dramatic foreshortening, Correggio prefigured the Baroque art of the seventeenth century and the Rococo art of the eighteenth century. He is considered a master of chiaroscuro.
| 0
|
[
"Antonio da Correggio",
"movement",
"Renaissance"
] |
Antonio Allegri da Correggio (August 1489 – 5 March 1534), usually known as just Correggio (, also UK: , US: , Italian: [korˈreddʒo]), was the foremost painter of the Parma school of the High Italian Renaissance, who was responsible for some of the most vigorous and sensuous works of the sixteenth century. In his use of dynamic composition, illusionistic perspective and dramatic foreshortening, Correggio prefigured the Baroque art of the seventeenth century and the Rococo art of the eighteenth century. He is considered a master of chiaroscuro.
| 3
|
[
"Antonio da Correggio",
"has works in the collection",
"Gemäldegalerie Alte Meister"
] |
Antonio Allegri da Correggio (August 1489 – 5 March 1534), usually known as just Correggio (, also UK: , US: , Italian: [korˈreddʒo]), was the foremost painter of the Parma school of the High Italian Renaissance, who was responsible for some of the most vigorous and sensuous works of the sixteenth century. In his use of dynamic composition, illusionistic perspective and dramatic foreshortening, Correggio prefigured the Baroque art of the seventeenth century and the Rococo art of the eighteenth century. He is considered a master of chiaroscuro.
| 6
|
[
"Antonio da Correggio",
"has works in the collection",
"Kunsthistorisches Museum"
] |
Selected works
Judith and the Servant (c. 1510)—Oil on canvas,Musée des Beaux-Arts, Strasbourg
Holy Family with Saints Elizabeth and John the Baptist (c. 1510)—Oil on panel-Pavia Civic Museums, Pavia
The Mystic Marriage of St. Catherine (1510–1515)—National Gallery of Art, Washington, D.C.
Madonna (1512–14)—Oil on canvas, Castello Sforzesco, Milan
Madonna and Child with St Francis (1514)—Oil on wood, 299 × 245 cm, Gemäldegalerie, Dresden
Madonna and Child (unknown, early 1500s)—Oil on canvas, National Gallery for Foreign Art, Sofia
Madonna of Albinea (1514, lost)
Madonna and Child with the infant Saint John the Baptist (1514–15)—Oil on wood panel, 45 × 35.5 cm, National Gallery of Victoria, Melbourne
Madonna and Child with the Infant John the Baptist (c. 1515)—Oil on panel, 64.2 × 50.2 cm, Art Institute of Chicago, Chicago
The Holy Family with Saint Jerome (1515)–East Closet of Hampton Court Palace as part of the Royal Collection
Madonna and Child with the Young Saint John (1516)—Oil on canvas, 48 × 37 cm, Museo del Prado, Madrid
Adoration of the Magi (c. 1515–1518)–Oil on canvas, 84 × 108 cm, Pinacoteca di Brera, Milan
Saint Jerome (c. 1515–1518)–Oil on Wood 64 x 51 cm, Real Academia de Bellas Artes de San Fernando, Madrid
Madonna and Child with the Infant John the Baptist (1518)–Oil on panel, 48 x 37 cm, Museo del Prado, Madrid
Portrait of a Gentlewoman (1517–1519)—Oil on canvas, 103 × 87.5 cm, Hermitage, St. Petersburg
Frescoes for Camera di San Paolo (1519)—Monastery of San Paolo, Parma
The Rest on the Flight to Egypt with Saint Francis (c. 1520)—Oil on canvas, 123.5 × 106.5 cm, Uffizi Gallery, Florence
Portrait of a man (c. 1520)–Oil on canvas, 55 x 40 cm, Museo Nacional Thyssen Bornemisza, Madrid.
Death of St. John (1520–1524)—Fresco, San Giovanni Evangelista, Parma
Madonna della Scala (c. 1523)—Fresco, 196 × 141.8 cm, Galleria Nazionale, Parma
Martyrdom of Four Saints (c. 1524)—Oil on canvas, 160 × 185 cm, Galleria Nazionale, Parma
Virgin and Child with an Angel (Madonna del Latte) (c. 1524)—Oil on wood, 68 × 56 cm, Museum of Fine Arts, Budapest
Deposition from the Cross (1525)—Oil on canvas, 158.5 × 184.3 cm, Galleria Nazionale, Parma
Noli me Tangere (c. 1525)—Oil on canvas, 130 × 103 cm, Museo del Prado, Madrid
Ecce Homo (1525–1530)—Oil on canvas, National Gallery, London
Madonna della Scodella (1525–1530)—Oil on canvas, 216 × 137 cm, Galleria Nazionale, Parma
Adoration of the Child (c. 1526)—Oil on canvas, 81 × 67 cm, Uffizi Gallery, Florence
Mystic Marriage of St. Catherine (mid-1520s)—Wood, 105 × 102 cm, Musée du Louvre, Paris
Assumption of the Virgin (1526–1530)—Fresco, 1093 × 1195 cm, Cathedral of Parma
Madonna of St. Jerome (1527–28)—Oil on canvas, 205.7 × 141 cm, Galleria Nazionale, Parma
Venus with Mercury and Cupid ('The School of Love') (c. 1528)—Oil on canvas, 155 × 91 cm, National Gallery, London
Venus and Cupid with a Satyr (c. 1528)—Oil on canvas, 188 × 125 cm, Musée du Louvre, Paris
Nativity (Adoration of the Shepherds, or Holy Night) (1528–1530)—Oil on canvas, 256.5 × 188 cm, Gemäldegalerie, Dresden
Madonna and Child with Saint George (1530–1532)—Oil on canvas, 285 × 190 cm, Gemäldegalerie, Dresden
Danaë (c. 1531)—Tempera on panel, 161 × 193 cm, Galleria Borghese, Rome
Ganymede Abducted by the Eagle (1531–32)—Oil on canvas, 163.5 × 70.5 cm, Kunsthistorisches Museum, Vienna
Jupiter and Io (1531–32)—Oil on canvas, 164 × 71 cm, Kunsthistorisches Museum
Leda with the Swan (1531–32)—Oil on canvas, 152 × 191 cm, Staatliche Museen, Berlin
Allegory of Virtue (c. 1531)—Oil on canvas, 149 × 88 cm, Musée du Louvre, Paris
Allegory of Vice (c. 1531)—Oil on canvas, 149 × 88 cm, Musée du Louvre, ParisSelected works
| 10
|
[
"Antonio da Correggio",
"place of birth",
"Correggio"
] |
Early life
Antonio Allegri was born in Correggio, a small town near Reggio Emilia. His date of birth is uncertain (around 1489). His father was a merchant. Otherwise little is known about Correggio's early life or training. It is, however, often assumed that he had his first artistic education from his father's brother, the painter Lorenzo Allegri.In 1503–1505, he was apprenticed to Francesco Bianchi Ferrara in Modena, where he probably became familiar with the classicism of artists like Lorenzo Costa and Francesco Francia, evidence of which can be found in his first works. After a trip to Mantua in 1506, he returned to Correggio, where he stayed until 1510. To this period is assigned the Adoration of the Child with St. Elizabeth and John, which shows clear influences from Costa and Mantegna. In 1514, he probably finished three tondos for the entrance of the church of Sant'Andrea in Mantua, and then returned to Correggio, where, as an independent and increasingly renowned artist, he signed a contract for the Madonna altarpiece in the local monastery of St. Francis (now in the Dresden Gemäldegalerie).
One of his sons, Pomponio Allegri, became an undistinguished painter. Both father and son occasionally referred to themselves using the Latinized form of the family name, Laeti.
| 12
|
[
"Antonio da Correggio",
"place of death",
"Correggio"
] |
Death
Returning to his home town in later years, Correggio died there suddenly on 5 March 1534. The following day he was buried in San Francesco in Correggio near his youthful masterpiece, the 'Madonna di San Francesco', housed today in Dresden. The precise location of his tomb is now unknown.
| 13
|
[
"Antonio da Correggio",
"has works in the collection",
"Uffizi Gallery"
] |
Selected works
Judith and the Servant (c. 1510)—Oil on canvas,Musée des Beaux-Arts, Strasbourg
Holy Family with Saints Elizabeth and John the Baptist (c. 1510)—Oil on panel-Pavia Civic Museums, Pavia
The Mystic Marriage of St. Catherine (1510–1515)—National Gallery of Art, Washington, D.C.
Madonna (1512–14)—Oil on canvas, Castello Sforzesco, Milan
Madonna and Child with St Francis (1514)—Oil on wood, 299 × 245 cm, Gemäldegalerie, Dresden
Madonna and Child (unknown, early 1500s)—Oil on canvas, National Gallery for Foreign Art, Sofia
Madonna of Albinea (1514, lost)
Madonna and Child with the infant Saint John the Baptist (1514–15)—Oil on wood panel, 45 × 35.5 cm, National Gallery of Victoria, Melbourne
Madonna and Child with the Infant John the Baptist (c. 1515)—Oil on panel, 64.2 × 50.2 cm, Art Institute of Chicago, Chicago
The Holy Family with Saint Jerome (1515)–East Closet of Hampton Court Palace as part of the Royal Collection
Madonna and Child with the Young Saint John (1516)—Oil on canvas, 48 × 37 cm, Museo del Prado, Madrid
Adoration of the Magi (c. 1515–1518)–Oil on canvas, 84 × 108 cm, Pinacoteca di Brera, Milan
Saint Jerome (c. 1515–1518)–Oil on Wood 64 x 51 cm, Real Academia de Bellas Artes de San Fernando, Madrid
Madonna and Child with the Infant John the Baptist (1518)–Oil on panel, 48 x 37 cm, Museo del Prado, Madrid
Portrait of a Gentlewoman (1517–1519)—Oil on canvas, 103 × 87.5 cm, Hermitage, St. Petersburg
Frescoes for Camera di San Paolo (1519)—Monastery of San Paolo, Parma
The Rest on the Flight to Egypt with Saint Francis (c. 1520)—Oil on canvas, 123.5 × 106.5 cm, Uffizi Gallery, Florence
Portrait of a man (c. 1520)–Oil on canvas, 55 x 40 cm, Museo Nacional Thyssen Bornemisza, Madrid.
Death of St. John (1520–1524)—Fresco, San Giovanni Evangelista, Parma
Madonna della Scala (c. 1523)—Fresco, 196 × 141.8 cm, Galleria Nazionale, Parma
Martyrdom of Four Saints (c. 1524)—Oil on canvas, 160 × 185 cm, Galleria Nazionale, Parma
Virgin and Child with an Angel (Madonna del Latte) (c. 1524)—Oil on wood, 68 × 56 cm, Museum of Fine Arts, Budapest
Deposition from the Cross (1525)—Oil on canvas, 158.5 × 184.3 cm, Galleria Nazionale, Parma
Noli me Tangere (c. 1525)—Oil on canvas, 130 × 103 cm, Museo del Prado, Madrid
Ecce Homo (1525–1530)—Oil on canvas, National Gallery, London
Madonna della Scodella (1525–1530)—Oil on canvas, 216 × 137 cm, Galleria Nazionale, Parma
Adoration of the Child (c. 1526)—Oil on canvas, 81 × 67 cm, Uffizi Gallery, Florence
Mystic Marriage of St. Catherine (mid-1520s)—Wood, 105 × 102 cm, Musée du Louvre, Paris
Assumption of the Virgin (1526–1530)—Fresco, 1093 × 1195 cm, Cathedral of Parma
Madonna of St. Jerome (1527–28)—Oil on canvas, 205.7 × 141 cm, Galleria Nazionale, Parma
Venus with Mercury and Cupid ('The School of Love') (c. 1528)—Oil on canvas, 155 × 91 cm, National Gallery, London
Venus and Cupid with a Satyr (c. 1528)—Oil on canvas, 188 × 125 cm, Musée du Louvre, Paris
Nativity (Adoration of the Shepherds, or Holy Night) (1528–1530)—Oil on canvas, 256.5 × 188 cm, Gemäldegalerie, Dresden
Madonna and Child with Saint George (1530–1532)—Oil on canvas, 285 × 190 cm, Gemäldegalerie, Dresden
Danaë (c. 1531)—Tempera on panel, 161 × 193 cm, Galleria Borghese, Rome
Ganymede Abducted by the Eagle (1531–32)—Oil on canvas, 163.5 × 70.5 cm, Kunsthistorisches Museum, Vienna
Jupiter and Io (1531–32)—Oil on canvas, 164 × 71 cm, Kunsthistorisches Museum
Leda with the Swan (1531–32)—Oil on canvas, 152 × 191 cm, Staatliche Museen, Berlin
Allegory of Virtue (c. 1531)—Oil on canvas, 149 × 88 cm, Musée du Louvre, Paris
Allegory of Vice (c. 1531)—Oil on canvas, 149 × 88 cm, Musée du Louvre, ParisSelected works
| 15
|
[
"Antonio da Correggio",
"ethnic group",
"Italians"
] |
Antonio Allegri da Correggio (August 1489 – 5 March 1534), usually known as just Correggio (, also UK: , US: , Italian: [korˈreddʒo]), was the foremost painter of the Parma school of the High Italian Renaissance, who was responsible for some of the most vigorous and sensuous works of the sixteenth century. In his use of dynamic composition, illusionistic perspective and dramatic foreshortening, Correggio prefigured the Baroque art of the seventeenth century and the Rococo art of the eighteenth century. He is considered a master of chiaroscuro.
| 16
|
[
"Antonio da Correggio",
"has works in the collection",
"Pinacoteca di Brera"
] |
Selected works
Judith and the Servant (c. 1510)—Oil on canvas,Musée des Beaux-Arts, Strasbourg
Holy Family with Saints Elizabeth and John the Baptist (c. 1510)—Oil on panel-Pavia Civic Museums, Pavia
The Mystic Marriage of St. Catherine (1510–1515)—National Gallery of Art, Washington, D.C.
Madonna (1512–14)—Oil on canvas, Castello Sforzesco, Milan
Madonna and Child with St Francis (1514)—Oil on wood, 299 × 245 cm, Gemäldegalerie, Dresden
Madonna and Child (unknown, early 1500s)—Oil on canvas, National Gallery for Foreign Art, Sofia
Madonna of Albinea (1514, lost)
Madonna and Child with the infant Saint John the Baptist (1514–15)—Oil on wood panel, 45 × 35.5 cm, National Gallery of Victoria, Melbourne
Madonna and Child with the Infant John the Baptist (c. 1515)—Oil on panel, 64.2 × 50.2 cm, Art Institute of Chicago, Chicago
The Holy Family with Saint Jerome (1515)–East Closet of Hampton Court Palace as part of the Royal Collection
Madonna and Child with the Young Saint John (1516)—Oil on canvas, 48 × 37 cm, Museo del Prado, Madrid
Adoration of the Magi (c. 1515–1518)–Oil on canvas, 84 × 108 cm, Pinacoteca di Brera, Milan
Saint Jerome (c. 1515–1518)–Oil on Wood 64 x 51 cm, Real Academia de Bellas Artes de San Fernando, Madrid
Madonna and Child with the Infant John the Baptist (1518)–Oil on panel, 48 x 37 cm, Museo del Prado, Madrid
Portrait of a Gentlewoman (1517–1519)—Oil on canvas, 103 × 87.5 cm, Hermitage, St. Petersburg
Frescoes for Camera di San Paolo (1519)—Monastery of San Paolo, Parma
The Rest on the Flight to Egypt with Saint Francis (c. 1520)—Oil on canvas, 123.5 × 106.5 cm, Uffizi Gallery, Florence
Portrait of a man (c. 1520)–Oil on canvas, 55 x 40 cm, Museo Nacional Thyssen Bornemisza, Madrid.
Death of St. John (1520–1524)—Fresco, San Giovanni Evangelista, Parma
Madonna della Scala (c. 1523)—Fresco, 196 × 141.8 cm, Galleria Nazionale, Parma
Martyrdom of Four Saints (c. 1524)—Oil on canvas, 160 × 185 cm, Galleria Nazionale, Parma
Virgin and Child with an Angel (Madonna del Latte) (c. 1524)—Oil on wood, 68 × 56 cm, Museum of Fine Arts, Budapest
Deposition from the Cross (1525)—Oil on canvas, 158.5 × 184.3 cm, Galleria Nazionale, Parma
Noli me Tangere (c. 1525)—Oil on canvas, 130 × 103 cm, Museo del Prado, Madrid
Ecce Homo (1525–1530)—Oil on canvas, National Gallery, London
Madonna della Scodella (1525–1530)—Oil on canvas, 216 × 137 cm, Galleria Nazionale, Parma
Adoration of the Child (c. 1526)—Oil on canvas, 81 × 67 cm, Uffizi Gallery, Florence
Mystic Marriage of St. Catherine (mid-1520s)—Wood, 105 × 102 cm, Musée du Louvre, Paris
Assumption of the Virgin (1526–1530)—Fresco, 1093 × 1195 cm, Cathedral of Parma
Madonna of St. Jerome (1527–28)—Oil on canvas, 205.7 × 141 cm, Galleria Nazionale, Parma
Venus with Mercury and Cupid ('The School of Love') (c. 1528)—Oil on canvas, 155 × 91 cm, National Gallery, London
Venus and Cupid with a Satyr (c. 1528)—Oil on canvas, 188 × 125 cm, Musée du Louvre, Paris
Nativity (Adoration of the Shepherds, or Holy Night) (1528–1530)—Oil on canvas, 256.5 × 188 cm, Gemäldegalerie, Dresden
Madonna and Child with Saint George (1530–1532)—Oil on canvas, 285 × 190 cm, Gemäldegalerie, Dresden
Danaë (c. 1531)—Tempera on panel, 161 × 193 cm, Galleria Borghese, Rome
Ganymede Abducted by the Eagle (1531–32)—Oil on canvas, 163.5 × 70.5 cm, Kunsthistorisches Museum, Vienna
Jupiter and Io (1531–32)—Oil on canvas, 164 × 71 cm, Kunsthistorisches Museum
Leda with the Swan (1531–32)—Oil on canvas, 152 × 191 cm, Staatliche Museen, Berlin
Allegory of Virtue (c. 1531)—Oil on canvas, 149 × 88 cm, Musée du Louvre, Paris
Allegory of Vice (c. 1531)—Oil on canvas, 149 × 88 cm, Musée du Louvre, ParisSelected works
| 17
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[
"Antonio da Correggio",
"field of work",
"art of painting"
] |
Antonio Allegri da Correggio (August 1489 – 5 March 1534), usually known as just Correggio (, also UK: , US: , Italian: [korˈreddʒo]), was the foremost painter of the Parma school of the High Italian Renaissance, who was responsible for some of the most vigorous and sensuous works of the sixteenth century. In his use of dynamic composition, illusionistic perspective and dramatic foreshortening, Correggio prefigured the Baroque art of the seventeenth century and the Rococo art of the eighteenth century. He is considered a master of chiaroscuro.
| 18
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[
"Antonio da Correggio",
"work location",
"Parma"
] |
Antonio Allegri da Correggio (August 1489 – 5 March 1534), usually known as just Correggio (, also UK: , US: , Italian: [korˈreddʒo]), was the foremost painter of the Parma school of the High Italian Renaissance, who was responsible for some of the most vigorous and sensuous works of the sixteenth century. In his use of dynamic composition, illusionistic perspective and dramatic foreshortening, Correggio prefigured the Baroque art of the seventeenth century and the Rococo art of the eighteenth century. He is considered a master of chiaroscuro.Works in Parma
By 1516, Correggio was in Parma, where he spent most of the remainder of his career. Here, he befriended Michelangelo Anselmi, a prominent Mannerist painter. In 1519 he married Girolama Francesca di Braghetis, also of Correggio, who died in 1529. From this period are the Madonna and Child with the Young Saint John, Christ Leaving His Mother and the lost Madonna of Albinea.
Correggio's first major commission (February–September 1519) was the ceiling decoration of a private chamber of the mother-superior (abbess Giovanna Piacenza) of the convent of St. Paul in Parma, now known as Camera di San Paolo. Here he painted an arbor pierced by oculi opening to glimpses of playful cherubs. Below the oculi are lunettes with images of statues in feigned monochromic marble. The fireplace is frescoed with an image of Diana. The iconography of the scheme is complex, combining images of classical marbles with whimsical colorful bambini.
He then painted the illusionistic Vision of St. John on Patmos (1520–21) for the dome of the church of San Giovanni Evangelista. Three years later he decorated the dome of the Cathedral of Parma with a startling Assumption of the Virgin, crowded with layers of receding figures in Melozzo's perspective (sotto in su, from down to up). These two works represented a highly novel illusionistic sotto in su treatment of dome decoration that would exert a profound influence upon future fresco artists, from Carlo Cignani in his fresco Assumption of the Virgin, in the cathedral church of Forlì, to Gaudenzio Ferrari in his frescoes for the cupola of Santa Maria dei Miracoli in Saronno, to Pordenone in his now-lost fresco from Treviso, and to the baroque elaborations of Lanfranco and Baciccio in Roman churches. The massing of spectators in a vortex, creating both narrative and decoration, the illusionistic obliteration of the architectural roof-plane, and the thrusting perspective toward divine infinity, were devices without precedent, and which depended on the extrapolation of the mechanics of perspective. The recession and movement implied by the figures presage the dynamism that would characterize Baroque painting.
Other masterpieces include The Lamentation and The Martyrdom of Four Saints, both at the Galleria Nazionale of Parma. The Lamentation is haunted by a lambency rarely seen in Italian painting prior to this time. The Martyrdom is also remarkable for resembling later Baroque compositions such as Bernini's Truth and Ercole Ferrata's Death of Saint Agnes, showing a gleeful saint entering martyrdom.
| 26
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[
"Antonio da Correggio",
"has works in the collection",
"Galleria Borghese"
] |
Selected works
Judith and the Servant (c. 1510)—Oil on canvas,Musée des Beaux-Arts, Strasbourg
Holy Family with Saints Elizabeth and John the Baptist (c. 1510)—Oil on panel-Pavia Civic Museums, Pavia
The Mystic Marriage of St. Catherine (1510–1515)—National Gallery of Art, Washington, D.C.
Madonna (1512–14)—Oil on canvas, Castello Sforzesco, Milan
Madonna and Child with St Francis (1514)—Oil on wood, 299 × 245 cm, Gemäldegalerie, Dresden
Madonna and Child (unknown, early 1500s)—Oil on canvas, National Gallery for Foreign Art, Sofia
Madonna of Albinea (1514, lost)
Madonna and Child with the infant Saint John the Baptist (1514–15)—Oil on wood panel, 45 × 35.5 cm, National Gallery of Victoria, Melbourne
Madonna and Child with the Infant John the Baptist (c. 1515)—Oil on panel, 64.2 × 50.2 cm, Art Institute of Chicago, Chicago
The Holy Family with Saint Jerome (1515)–East Closet of Hampton Court Palace as part of the Royal Collection
Madonna and Child with the Young Saint John (1516)—Oil on canvas, 48 × 37 cm, Museo del Prado, Madrid
Adoration of the Magi (c. 1515–1518)–Oil on canvas, 84 × 108 cm, Pinacoteca di Brera, Milan
Saint Jerome (c. 1515–1518)–Oil on Wood 64 x 51 cm, Real Academia de Bellas Artes de San Fernando, Madrid
Madonna and Child with the Infant John the Baptist (1518)–Oil on panel, 48 x 37 cm, Museo del Prado, Madrid
Portrait of a Gentlewoman (1517–1519)—Oil on canvas, 103 × 87.5 cm, Hermitage, St. Petersburg
Frescoes for Camera di San Paolo (1519)—Monastery of San Paolo, Parma
The Rest on the Flight to Egypt with Saint Francis (c. 1520)—Oil on canvas, 123.5 × 106.5 cm, Uffizi Gallery, Florence
Portrait of a man (c. 1520)–Oil on canvas, 55 x 40 cm, Museo Nacional Thyssen Bornemisza, Madrid.
Death of St. John (1520–1524)—Fresco, San Giovanni Evangelista, Parma
Madonna della Scala (c. 1523)—Fresco, 196 × 141.8 cm, Galleria Nazionale, Parma
Martyrdom of Four Saints (c. 1524)—Oil on canvas, 160 × 185 cm, Galleria Nazionale, Parma
Virgin and Child with an Angel (Madonna del Latte) (c. 1524)—Oil on wood, 68 × 56 cm, Museum of Fine Arts, Budapest
Deposition from the Cross (1525)—Oil on canvas, 158.5 × 184.3 cm, Galleria Nazionale, Parma
Noli me Tangere (c. 1525)—Oil on canvas, 130 × 103 cm, Museo del Prado, Madrid
Ecce Homo (1525–1530)—Oil on canvas, National Gallery, London
Madonna della Scodella (1525–1530)—Oil on canvas, 216 × 137 cm, Galleria Nazionale, Parma
Adoration of the Child (c. 1526)—Oil on canvas, 81 × 67 cm, Uffizi Gallery, Florence
Mystic Marriage of St. Catherine (mid-1520s)—Wood, 105 × 102 cm, Musée du Louvre, Paris
Assumption of the Virgin (1526–1530)—Fresco, 1093 × 1195 cm, Cathedral of Parma
Madonna of St. Jerome (1527–28)—Oil on canvas, 205.7 × 141 cm, Galleria Nazionale, Parma
Venus with Mercury and Cupid ('The School of Love') (c. 1528)—Oil on canvas, 155 × 91 cm, National Gallery, London
Venus and Cupid with a Satyr (c. 1528)—Oil on canvas, 188 × 125 cm, Musée du Louvre, Paris
Nativity (Adoration of the Shepherds, or Holy Night) (1528–1530)—Oil on canvas, 256.5 × 188 cm, Gemäldegalerie, Dresden
Madonna and Child with Saint George (1530–1532)—Oil on canvas, 285 × 190 cm, Gemäldegalerie, Dresden
Danaë (c. 1531)—Tempera on panel, 161 × 193 cm, Galleria Borghese, Rome
Ganymede Abducted by the Eagle (1531–32)—Oil on canvas, 163.5 × 70.5 cm, Kunsthistorisches Museum, Vienna
Jupiter and Io (1531–32)—Oil on canvas, 164 × 71 cm, Kunsthistorisches Museum
Leda with the Swan (1531–32)—Oil on canvas, 152 × 191 cm, Staatliche Museen, Berlin
Allegory of Virtue (c. 1531)—Oil on canvas, 149 × 88 cm, Musée du Louvre, Paris
Allegory of Vice (c. 1531)—Oil on canvas, 149 × 88 cm, Musée du Louvre, ParisSelected works
| 28
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[
"Antonio da Correggio",
"has works in the collection",
"Gemäldegalerie"
] |
Early life
Antonio Allegri was born in Correggio, a small town near Reggio Emilia. His date of birth is uncertain (around 1489). His father was a merchant. Otherwise little is known about Correggio's early life or training. It is, however, often assumed that he had his first artistic education from his father's brother, the painter Lorenzo Allegri.In 1503–1505, he was apprenticed to Francesco Bianchi Ferrara in Modena, where he probably became familiar with the classicism of artists like Lorenzo Costa and Francesco Francia, evidence of which can be found in his first works. After a trip to Mantua in 1506, he returned to Correggio, where he stayed until 1510. To this period is assigned the Adoration of the Child with St. Elizabeth and John, which shows clear influences from Costa and Mantegna. In 1514, he probably finished three tondos for the entrance of the church of Sant'Andrea in Mantua, and then returned to Correggio, where, as an independent and increasingly renowned artist, he signed a contract for the Madonna altarpiece in the local monastery of St. Francis (now in the Dresden Gemäldegalerie).
One of his sons, Pomponio Allegri, became an undistinguished painter. Both father and son occasionally referred to themselves using the Latinized form of the family name, Laeti.Selected works
Judith and the Servant (c. 1510)—Oil on canvas,Musée des Beaux-Arts, Strasbourg
Holy Family with Saints Elizabeth and John the Baptist (c. 1510)—Oil on panel-Pavia Civic Museums, Pavia
The Mystic Marriage of St. Catherine (1510–1515)—National Gallery of Art, Washington, D.C.
Madonna (1512–14)—Oil on canvas, Castello Sforzesco, Milan
Madonna and Child with St Francis (1514)—Oil on wood, 299 × 245 cm, Gemäldegalerie, Dresden
Madonna and Child (unknown, early 1500s)—Oil on canvas, National Gallery for Foreign Art, Sofia
Madonna of Albinea (1514, lost)
Madonna and Child with the infant Saint John the Baptist (1514–15)—Oil on wood panel, 45 × 35.5 cm, National Gallery of Victoria, Melbourne
Madonna and Child with the Infant John the Baptist (c. 1515)—Oil on panel, 64.2 × 50.2 cm, Art Institute of Chicago, Chicago
The Holy Family with Saint Jerome (1515)–East Closet of Hampton Court Palace as part of the Royal Collection
Madonna and Child with the Young Saint John (1516)—Oil on canvas, 48 × 37 cm, Museo del Prado, Madrid
Adoration of the Magi (c. 1515–1518)–Oil on canvas, 84 × 108 cm, Pinacoteca di Brera, Milan
Saint Jerome (c. 1515–1518)–Oil on Wood 64 x 51 cm, Real Academia de Bellas Artes de San Fernando, Madrid
Madonna and Child with the Infant John the Baptist (1518)–Oil on panel, 48 x 37 cm, Museo del Prado, Madrid
Portrait of a Gentlewoman (1517–1519)—Oil on canvas, 103 × 87.5 cm, Hermitage, St. Petersburg
Frescoes for Camera di San Paolo (1519)—Monastery of San Paolo, Parma
The Rest on the Flight to Egypt with Saint Francis (c. 1520)—Oil on canvas, 123.5 × 106.5 cm, Uffizi Gallery, Florence
Portrait of a man (c. 1520)–Oil on canvas, 55 x 40 cm, Museo Nacional Thyssen Bornemisza, Madrid.
Death of St. John (1520–1524)—Fresco, San Giovanni Evangelista, Parma
Madonna della Scala (c. 1523)—Fresco, 196 × 141.8 cm, Galleria Nazionale, Parma
Martyrdom of Four Saints (c. 1524)—Oil on canvas, 160 × 185 cm, Galleria Nazionale, Parma
Virgin and Child with an Angel (Madonna del Latte) (c. 1524)—Oil on wood, 68 × 56 cm, Museum of Fine Arts, Budapest
Deposition from the Cross (1525)—Oil on canvas, 158.5 × 184.3 cm, Galleria Nazionale, Parma
Noli me Tangere (c. 1525)—Oil on canvas, 130 × 103 cm, Museo del Prado, Madrid
Ecce Homo (1525–1530)—Oil on canvas, National Gallery, London
Madonna della Scodella (1525–1530)—Oil on canvas, 216 × 137 cm, Galleria Nazionale, Parma
Adoration of the Child (c. 1526)—Oil on canvas, 81 × 67 cm, Uffizi Gallery, Florence
Mystic Marriage of St. Catherine (mid-1520s)—Wood, 105 × 102 cm, Musée du Louvre, Paris
Assumption of the Virgin (1526–1530)—Fresco, 1093 × 1195 cm, Cathedral of Parma
Madonna of St. Jerome (1527–28)—Oil on canvas, 205.7 × 141 cm, Galleria Nazionale, Parma
Venus with Mercury and Cupid ('The School of Love') (c. 1528)—Oil on canvas, 155 × 91 cm, National Gallery, London
Venus and Cupid with a Satyr (c. 1528)—Oil on canvas, 188 × 125 cm, Musée du Louvre, Paris
Nativity (Adoration of the Shepherds, or Holy Night) (1528–1530)—Oil on canvas, 256.5 × 188 cm, Gemäldegalerie, Dresden
Madonna and Child with Saint George (1530–1532)—Oil on canvas, 285 × 190 cm, Gemäldegalerie, Dresden
Danaë (c. 1531)—Tempera on panel, 161 × 193 cm, Galleria Borghese, Rome
Ganymede Abducted by the Eagle (1531–32)—Oil on canvas, 163.5 × 70.5 cm, Kunsthistorisches Museum, Vienna
Jupiter and Io (1531–32)—Oil on canvas, 164 × 71 cm, Kunsthistorisches Museum
Leda with the Swan (1531–32)—Oil on canvas, 152 × 191 cm, Staatliche Museen, Berlin
Allegory of Virtue (c. 1531)—Oil on canvas, 149 × 88 cm, Musée du Louvre, Paris
Allegory of Vice (c. 1531)—Oil on canvas, 149 × 88 cm, Musée du Louvre, ParisSelected works
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