Correggio

Antonio Allegri, or simply called Correggio, was a Venetian painter born around 1489 and died in 1534 and was most active in the High Renaissance. He was more active in the Parma school of High Renaissance artistry which he established when he moved to Parma in 1516. He got most of his influence from the works of Leonardo da Vinci’s pupils on the ways of light and shade, which he used to work out entirely new effects that influenced many later schools of painters.

His most famous painting, titled ‘Holy Night’ is a great example of this new direction.

The clever use of lighting, in a way that I personally rarely see, comes from the Christ Child which lights up and almost obscures Mary, the happy mother. Using this effect, and by shadowing the figures in the background, the viewer’s gaze in brought to the main subject, the Christ Child, in a great way.

Giorgione

Active between the years of 1478?-1510, this Italian painter was one of the more mysterious figures of the Italian Renaissance. Giorgione, or otherwise known as Giorgio Barberelli da Castelfranco, was from a small village called Castelfranco de Veneto and was a pupil of master artist Giovanni Bellini. It is believed that Giorgione died rather young at the age of either 32 or 33 due to the Bubonic Plague that swept across Europe during this time.

Like much of the work tied to Giorgione, this piece, known as “The Tempest”, is debated as to what exactly the painting is supposed to represent. This enigmatic direction and subject of his paintings is what makes Giorgione one of the more mysterious figures of the Italian Renaissance. But, it’s not the seemingly directionless painting that earned its prestigious status, but it was how Giorgione blended the subjects and background into one harmonious image through the use of colours and light.

“[…] the landscape before which the actors of the picture move is not just a background.” The Story of Art, pg. 329.

This innovative way of how Giorgione arranged the piece brought forth a new way of thinking of perspective in paintings.