Among the countless commentators on Correggio, I like to choose the sincere definition given by Édouard Pommier in a personal autograph letter to me in August 2006, where he considers him "an immense artist." Such a judgment coming from the then...
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The author revisits here the article that appeared on January 31, 2022, in this same journal, but has now expanded it with the necessary in-depth analysis. This study of Correggio, in fact, focuses on that great Renaissance artist who embodied th...
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Correggio’s *Madonna of Saint Sebastian* (Antonio Allegri; Correggio, 1489–1534) was the focus of a comprehensive conservation and research project at the Gemäldegalerie in Dresden, where the painting is housed. The project focused o...
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Work to secure andpreserve the historical and artistic heritage of the Camera di San Paolo in Parma—one of the city’s most precious and iconic sites, famous for its frescoes by Correggio ( Antonio Allegri; Correggio, 1489–1534)—will begin on Au...
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To speak of the Camera di San Paolo, frescoed by Correggio in Parma in 1518, would first and foremost lead to the vast body of literature that this famous painted room has inspired, featuring the names of celebrated authors and themes spanning a wide...
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At the Gemäldegalerie Alte Meister (Old Masters Gallery) in Dresden, within the Zwinger complex, the first-ever retrospective exhibition outside Italy dedicated to Antonio Allegri known as il Correggio (Correggio, c. 1489 - 1534), titled Corregg...
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Since my studies have sometimes led me to take an interest in Correggio's particular subjects and in his relations with the Gonzaga courts, with which he had an evocative continuity of relations, I can now present a result that illuminates a work of ...
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All of Correggio's frescoes and almost all of his mobile paintings are bearers of particular meanings, not often easy to decipher, that explicate values of a Christian scope and that flow from deep meditations which lead to his well-known composition...
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