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Antonio Allegri says Corrège (1489-1534).
He undoubtedly had a first formation with Mantoue and being marked by the painting of Mantegna and his disciple Lorenzo Costa. The frescos of the church San Andréa de Mantoue, partly allotted to Corrège, are obviously influenced by Andrea Mantegna. The Mystical Marriage of Holy Catherine (about 1510) is a work hinge, the hard line still betrays the influence of Mantegna but it is attenuated by a very soft atmosphere.
In 1514 Corrège receives its first significant order. A table of furnace bridge for the convent St François of Parma. The Madonna of St François completed in 1515. This table announces the influence of Raphaël and the Madonna of the Sixtine vault. The colour is tender and sensitive and returned volumes is powerful. It is supposed that Corrège remains in Rome in 1518 and 1519.
The influence of the Roman school of Cinquecento is sensitive in the Frescos of the Room of Saint Paul (1519). In 1520 -1521 it begins in Parma the frescos from the church Saint Jean Évangéliste of which the fresco of the cupola representing the Vision of Jean Saint in Patmos. Here Corrège manages to create a perfect space illusion thanks to its control of the short cuts of prospect and lighting. While seeking the monumentality Corrège never sacrifices elegance. Its works testify to an astonishing direction of the movement and their celestial grace suggests the infinite one.
In 1524-1530 it carries out one of its major works the Fresco of the Cupola of the Cathedral of Parma which represents the Assumption. Marie goes up to the sky to the sky on a bench of clouds, the largely opened arms, surrounded by several angels. An arc in sky goes down towards it. In this monumental work Corrège shows the precursor of the ceilings illusionnists of the baroque. It carries out also panels on subjects mythological or religious remarkable by returned landscape. In the mythological compositions the naked ones are laid out according to erudite prospects' in front of a dumb background. It also paints several religious fabrics, the Madonna of Jerome Saint (about 1527-1530) and the Worship of the Shepherds (about 1527-1530) remarkable by his treatment of the light and obscure light. Two sources of light coexist in this fabric, a weak gleam come from the horizon and a supernatural clearness which emanates from the divine child.
Towards the end of its life Corrège carries out the Jupiter cycle, probably ordered by the Duke of Mantoue. The 4 scenes (Danaé, Léda, Jupiter and Io and Ganymède) show the naked voluptuous ones of a suave tenderness.