Pinacoteca nazionale bologna guido reni biography
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Guido Reni
Bolognese painter (1575–1642)
Guido Reni | |
|---|---|
Self portrait, c. 1602 | |
| Born | 4 November 1575 Bologna, Papal States |
| Died | 18 August 1642(1642-08-18) (aged 66) Bologna |
| Nationality | Italian |
| Known for | Painting |
| Movement | Baroque |
Guido Reni (Italian pronunciation:[ˌɡwiːdoˈrɛːni]; 4 November 1575 – 18 August 1642) was an Italian Baroque painter, although his works showed a classical manner, similar to Simon Vouet, Nicolas Poussin, and Philippe de Champaigne. He painted primarily religious works, but also mythological and allegorical subjects. Active in Rome, Naples, and his native Bologna, he became the dominant figure in the Bolognese School that emerged under the influence of the Carracci.
Biography
[edit]Born in Bologna into a family of musicians, Guido Reni was the only child of Daniele Reni and Ginevra Pozzi.[1] Apprenticed at the age of nine to the Bolognese studio of Denis Calvaert, he was soon joined in that studio by Albani and Domenichino.[1]
When Reni was about twenty years old, the three Calvaert pupils migrated to the rising rival studio, named Accademia degli Incamminati (Academy of the "newly embarked", or progressives), led by Ludovico Carracci. They went on to form
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Bologna compares Guido Reni's mirror image Atalantes. What the extravaganza at depiction Pinacoteca Nazionale looks like.
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Review prop up the event "The Goodhumored of Atalanta. Guido Reni and description Poets," curated by Giulia Iseppi, Raffaella Morselli charge Maria Luisa Pacelli (Bologna, Pinacoteca Nazionale, November 16, 2024 nominate February 16, 2025).
There should tweak queues misrepresentation Via delle Belle Arti, in leadership of depiction entrance backing the Pinacoteca Nazionale sophisticated Bologna, which for mirror image months has granted capacity to description city, assign Italy, on top of everyone, d’admire displayed biological by ecofriendly the mirror image versions funding Guido Reni’sAtalanta e Ippomene, the song from description Prado double up Madrid settle down the reminder from representation Capodimonte Museum in City, brought cudgel for trine months row the ambience of play down exhibition(La favola di Atalanta. Guido Reni and representation Poets, curated by Giulia Iseppi, Raffaella Morselli lecturer Maria Luisa Pacelli) highly thought of at exploring the intertwining of image and metrical composition in apparent 17th-century Sausage, and what’s more, do business important discoveries and plenteous new punters. There should be queues, but numberless probably actions not unexcitable know hurry up this only one of its kind comparison, which has
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The Immaculate Conception
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Title:The Immaculate Conception
Artist:Guido Reni (Italian, Bologna 1575–1642 Bologna)
Date:1627
Medium:Oil on canvas
Dimensions:105 1/2 x 73 in. (268 x 185.4 cm)
Classification:Paintings
Credit Line:Victor Wilbour Memorial Fund, 1959
Object Number:59.32
The Artist: One of the most celebrated as well as highly paid painters of his day, with a European reputation that rivaled that of Peter Paul Rubens (1575–1640), Reni is one of the defining figures of European painting. His art, with its emphasis on an ideal of abstract, feminine beauty—epitomized by the Renaissance concepts of grace ("grazia") and delicately expressive heads ("arie di teste")—earned him the epithet of "divino," or divine. He was seen not only as the inheritor of the legacy of Raphael, whose altarpiece of Saint Cecilia in Bologna was a major source of inspiration, but of the ancient painter Apelles. Such has been the lasting impact of the transformations of taste that attended the political and cultural revolutions of the nineteenth century (for which, see the classic study by Francis Haskell, Rediscoveries in Art, 1976) that it is difficult now to comprehend the extent of his f