This document discusses Correggio's artistic development and influences, particularly from Raphael. It notes that Correggio knew figures in Raphael's workshop in Rome in 1520 and shared Raphael's interest in learned invention, but developed qualities of intense affect. Specifically, it discusses how Correggio learned grazia, aria, and tenerezza from Raphael and how he created his own style focused on beauty, pleasure, and emotion. The document also examines Correggio's influences on later artists like Parmigianino and how he developed a style of energica plus dolcezza in his religious and mythological works.

1. Raphael/Correggio: What I learned in Rome.

2. Correggio: From Allegri to Lieto.
1489 – 1532, active in Parma from 1516, in Rome in 1520 knows
figures in Raphael’s workshop.
• Agucchi – master of the beauty in Nature.
• Vasari – master of the beauty born from grace.
• Tenerezza, Vaghezza, Leggiadria, Lietezza – principles of Ecstasy OR
PLEASURE.
• Shares Raphael’s interests in Learned Invention, but develops
qualities of intense affect.
• The Antiquity of Northern Italian: Poetic.
• Ariosto – court of Ferrara – evocative style, intensely emotional
vocabulary.

3. Annibale on Correggio, 1580
• In commenting on Allegri's (Correggio’s) works in Parma, Annibale Carracci
located Raphael and Allegri respectively in the two stylistic polarities of hard
("cosa di legno") and soft ("tenero"). Although Annibale declares his
incapacity to elaborate on Allegri's style, he writes that his putti breathe,
with such grace and truth that they compel us "to laugh and to feel happy
along with them.”’ Annibale further states that Allegri's personal style was
his own conspicuous invention, thereby the mark of his own individual self
bound into his work. “Correggio's works were his own thoughts, his own
conceptions, which one sees he drew out of his own head, and invented on
his own, testing these only against the original. The others all lean on
something that is not their own, either on the model, or on statues, or on
drawings and prints. All the works of these others represent things as they
could be, but Correggio's as they truly are.” (Irony abounds in these
comments: emphasis on originality vs. Annibale’s later method, lieta (joy)
for the depressive and taciturn Annibale.)

4. Poesis x 2: Humanist Theory and Affect
of Figures, particularly female.

5. The Lessons of Raphael: Grazia, Aria, Tenerezza: Correggio,
Portrait of Veronica Gambara, 1519 and Raphael, La donna
velata, 1515-16; sfumato.

6. Creation of Type: Ideal of Beauty, Experience of
Pleasure: “Rest on the Flight Into Egypt.”

7. Provincial Art Copying and Openness
to innovation?
A. Mantegna 1496 Leonardo da Vinci., 1503 A. Correggio, 1514

8. The Invention of Grazia: Raphael and Correggio

9. Followers in Kind: Correggio and Parmigianino

10. Correggio, States of Mind, regardless of subject; M/C with
Mary Magdalene and St Jerome; . Jupiter and Antiope,
1528

11. Energeia plus Dolcezza = Leggiardria (Raphael,
Transfiguration, 1518 and Madonna and Child with Sts.

12. Correggio at San Giovanni Evangelista.
Raphael and school, Vatican Loggia,
1517-1527.

13. Parma cathedral: The Assumption of the Virgin, 1522-30

14. Toward the Light in Parma and Venice

15. The Erotics of Flight: Ganymede

16. The Sweetness of Miracles – Florence and Emilia
Romagna.
Ridolfo Ghirlandaio, 1520.

17. Popular in Baroque: Correggio, The Loves of the Gods,
1527-30: Erotic Mythology for Princes.

18. The Urbino Venus and Jupiter and Io: Surrendering
to the Gaze.

19. Wonders of the Age: Sofonisba Anguissola
and Lavinia Fontana.
Sofonisba Anguissola: Lucia, Minerva and Europa Lavinia Fontana, Apollo and The Muses,
Playing Chess, oil on canvas, 1555 1598-1600.

20. Gendered Musical Portraits: Humanist and Wife

21. Women’s Lives:
S. Anguissola, BOLOGNESE NOBLEWOMEN L. Fontana, Child in His CriB (Portrait of son?)
1583 1582

22. What’s Next!!! Caravaggio and
Carracci.