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oil paint (paint)50 × 64 Cm
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About the artwork
Artist supplied description.
Correggio spent most of his brief career in the northern Italian city of Parma. Removed from the great centers of Renaissance art, he was able to create a remarkably innovative body of work. This intimate devotional panel is a product of the artist’s youth. Here Correggio revealed his own evolving style while assimilating lessons from other masters. The panel’s pyramidal grouping of figures reflects the High Renaissance manner of Raphael, while their soft outlines and the Virgin’s enigmatic smile recall Leonardo da Vinci. The evocative use of the distant landscape demonstrates the young artist’s awareness of Northern European precedents. The gentle sensuousness of the figures and the tenderness they show one another through glance are unique to Correggio. The artist used light, shadow, and color to bathe the panel in a gentle glow; skin and fabrics appear to take on a velvety texture. The expressive, idyllic quality of this painting presages the radiant ceiling frescoes of Correggio’s maturity, especially those in Parma’s Cathedral.
Artwork metadata
Structured fields synced from connected systems.
| Medium | oil paint (paint) |
| Dimensions | 50 × 64 Cm |
| Tags | religionwomenchildrenmothersChristianityChristian subjectsJesusSaint John the BaptistVirgin MaryVirgin and child/Madonna and child |
| Certificate | Certificate not provided |
Timeline
Chain of custody, exhibitions, and verification milestones synced from the provenance service.
Tue
27
Jan
note
Maxon recounted that the Milanese collector cited below bought the picture sometime around the beginning or end of World War II at an unidentified public auction in Germany as Italian, first quarter of the sixteenth century]....
Maxon recounted that the Milanese collector cited below bought the picture sometime around the beginning or end of World War II at an unidentified public auction in Germany as Italian, first quarter of the sixteenth century]. Minari collection, Milan [statement of Wildenstein (without reference to collector's name) and Maxon papers, The Art Institute of Chicago]. Wildenstein, New York
Tue
27
Jan
note
C.P. Landon, Galerie de M. Massias, ancien résident de France à Carlsruhe...
C.P. Landon, Galerie de M. Massias, ancien résident de France à Carlsruhe... (Paris, 1815), p. 17, pl. 6.
Tue
27
Jan
note
Baron Nicholas Massias, Paris, by 1815
Baron Nicholas Massias, Paris, by 1815
Tue
27
Jan
note
sold Laneuville and Lacoste, Paris, December 13 or following, 1825 (originally scheduled for December 14, 1824), no....
sold Laneuville and Lacoste, Paris, December 13 or following, 1825 (originally scheduled for December 14, 1824), no. 27, as Bernardo Luini, for Fr 4,000 [according to Landon 1815, p. 17]. Private collection, Germany [statement from Wildenstein and correspondence of John Maxon, The Art Institute of Chicago Archives
Wed
27
Jan
exhibition
The Art Institute of Chicago, Bill Viola: A 25-Year Survey, October 16, 1999 – January 9, 2000, included in the gallery that held Viola’s The Greeting for the Chicago venue.
The Art Institute of Chicago, Bill Viola: A 25-Year Survey, October 16, 1999 – January 9, 2000, included in the gallery that held Viola’s The Greeting for the Chicago venue.
Wed
27
Jan
note
Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago
Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago (Princeton, N.J., 1993), pp. 67-72, (ill.).
Wed
27
Jan
note
P. Piva, Correggio giovane e l'affresco retrovato de San Benedetto in Polirone
P. Piva, Correggio giovane e l'affresco retrovato de San Benedetto in Polirone (Turin, 1988), pp. 155, 166, 168, 173, pl. xiv.
Wed
27
Jan
note
Cecil Gould, "A Major New Attribution to the Young Correggio," Artibus et historiae 18
Cecil Gould, "A Major New Attribution to the Young Correggio," Artibus et historiae 18 (1988), p. 9.
Wed
27
Jan
note
Master Paintings in The Art Institute of Chicago
Master Paintings in The Art Institute of Chicago (Chicago, 1988), p. 20 (color ill.).
Mon
27
Jan
note
Cecil Gould in The Age of Correggio and the Carracci: Emilian Painting of the Sixteenth and Seventeenth Centuries, exh. cat.
Cecil Gould in The Age of Correggio and the Carracci: Emilian Painting of the Sixteenth and Seventeenth Centuries, exh. cat. (Washington, DC, National Gallery of Art, 1986), under no. 28.
Mon
27
Jan
note
Important Old Master Paintings and Discoveries of the Past Year, exh. cat.
Important Old Master Paintings and Discoveries of the Past Year, exh. cat. ( New York, Piero Corsini, Inc., 1986), pp. 18, 21, no. 4, under no. 4.
Tue
27
Jan
note
D. A. Brown, The Young Correggio and His Leonardesque Sources
D. A. Brown, The Young Correggio and His Leonardesque Sources (New York and London), 1981, pp. 68-69, 74-80, 98, 194-96, no. 11, fig. 18.
Fri
27
Jan
note
The Art Institute of Chicago: 100 Masterpieces
The Art Institute of Chicago: 100 Masterpieces (Chicago, 1978), p. 47, no. 10 (color ill.).
Thu
27
Jan
note
A. H. Zerner and A. C. Quintavalle, Tout l'oeuvre peint de Corrège
A. H. Zerner and A. C. Quintavalle, Tout l'oeuvre peint de Corrège (Paris, 1977), pp. 86, 93, no. 29, no. 30.
Tue
27
Jan
note
Cecil Gould, The Paintings of Correggio
Cecil Gould, The Paintings of Correggio (Ithaca, NY, 1976), pp. 43, 46, 47, 58, 169, 199, pl. 16
Thu
27
Jan
note
D. A. Brown, "Correggio's Virgin and Child with the Infant St. John," The Art Instite of Chicago Museum Studies 7
D. A. Brown, "Correggio's Virgin and Child with the Infant St. John," The Art Instite of Chicago Museum Studies 7 (1972), pp. 7-33, fig. 1.
Thu
27
Jan
note
Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections
Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections (Cambridge, Mass., 1972), pp. 56, 3336, 571.
Tue
27
Jan
note
Alberto Bevilacqua and Arturo Carlo Quitavalle, L'opera completa del Correggio
Alberto Bevilacqua and Arturo Carlo Quitavalle, L'opera completa del Correggio ( Milan, 1970), no. 30 (ill.).
Tue
27
Jan
note
John Maxon, The Art Institute of Chicago
John Maxon, The Art Institute of Chicago (London, 1970), p. 93, no. 30 (ill.).
Sat
27
Jan
note
Bernard Berenson, Italian Pictures of the Renaissance: Central Italian and North Italian Schools, vol. I
Bernard Berenson, Italian Pictures of the Renaissance: Central Italian and North Italian Schools, vol. I (London, 1968), p. 92.
Fri
27
Jan
note
"La Chronique des arts," Gazette des beaux arts ser. 6, 69
"La Chronique des arts," Gazette des beaux arts ser. 6, 69 (1967), suppl. no. 1177, p. 69, no. 253 (ill.).
Thu
27
Jan
note
"The Sensual Innocent," Time Magazine 87, no. 14
"The Sensual Innocent," Time Magazine 87, no. 14 (1966), pp. 78-79 (color ill.).
Thu
27
Jan
note
Myron Laskin, Jr., "A New Correggio for Chicago," Burlington Magazine 107,
Myron Laskin, Jr., "A New Correggio for Chicago," Burlington Magazine 107, (1966), p. 190.
Thu
27
Jan
note
John Maxon, "Some Recent Acquisitions," Apollo 84
John Maxon, "Some Recent Acquisitions," Apollo 84 (1966), p. 221, fig. 3.
Thu
27
Jan
note
John Maxon, "Correggio's Virgin and Child with the Infant Saint John, " Art News 66, no. 2
John Maxon, "Correggio's Virgin and Child with the Infant Saint John, " Art News 66, no. 2 (1966), pp. 31-32, 64-65 (color ill.).
Wed
27
Jan
note
sold to the Art Institute, 1965.
sold to the Art Institute, 1965.
Wed
27
Jan
note
"Accessions of Canadian and American Museums, October-December 1965," Art Quarterly 29
"Accessions of Canadian and American Museums, October-December 1965," Art Quarterly 29 (1966), p. 71, cover ill.
© Artist-Unknown. All rights reserved.