The Virgin and Child with the Young Saint John the Baptist

Antonio Al branchio was born in Correggio, a vitiated Lombard town near ReggioEmilo. His birth term is unknown (Around 1489). His father was a merchant. Otherwise, pocketable is known of Correggios life or training. In the years 1503-1505 he apprentice toFrancesco Bianchi Ferrara of Modena. He was influenced by the classicism of authors care Lorenzo Costa and Francesco Francia which place be run aground in his early flicks.In 1516 he was in P girdlea, where he became a champ of Michelangelo Anselmi, iodin of the main Mannerist painters of the period. He remained in that city until 1530.In 1519 he espouse Girolama Francesco di Braghetis, also of Correggio and died in 1529.In this period Correggio paints his scenic ikon Virgin and baby bird with the grand paragon deception the Baptist. It is a motion-picture show on oil on display board Italian circa. 1494-1534.The subject matter of the painting is John the Baptist as a boor and his firstmeeting of the bloody shame and the deliverer child. Influenced by Leonardo da Vinci is amorous with everywherewhelming radiance and cool cleaver colors. The expressive content ofthe painting is of joy, call into question and is playful. It seems to be a happy, leisurely succession for allthree people. The tender canonise John Baptists mood is of idolize as he bows down andlooks up at the the Nazarene child. The lines in the painting is of a symmetrical composition emplacement with the bloody shame leaning a olive-sized toward the materialization exaltation al approximately welcomeher into her arms.The matter is religious for the young saint is meeting the Christ child as well aswelcomed into the arms of the Madonna. The young Saint John the Baptists looks as ifhe is kneeling as he looks up from below to look at the Christ child. The figures arepeasants sitting on a bench in a garden underneath a vine. The Madonna is dressed in a attractive pale red dress and a invest that is a rich piquant on top an d green underneath. Thecloak draped over her header is folded over and falling off revealing the green underneathon the right gradient of the Madonna and the blue on her left(a) shoulder.The color is rich in metric grain the brush stroke smooth and unmatched stroke. The colorsare pale, delicate, and deep rescue out the rich color in the painting. The light and coolpearly beamy color seems to be coming from within the people as well as behind theMadonna. The specific effect is of consent in relation to each other. The break away isorganized to show the Madonna in the centerfield lovingly balancing the Christ child on herleft peg as she reaches out her left arm to welcome the young Saint John the Baptist. TheChrist child is sitting on the Madonnas left leg he is raised above the head of the youngsaint and the young saint kneel and look up. The central counsel is of the Madonna inthe center and her smile as well as the Christ child balancing on the Madonnas leg.Antonia Corr eggio reflected the historical context of the renaissance by usingthe periods work of religious themes establish in the Madonna, the Christ Child and a youngJohn the Baptist. The painting is a stylized and idealized. His religious symbolism is for the most part drawn from the work of Jacobus de Voragine (1260) He created ever-changingcomposition and persuasion in his spectacular three-dimensional foc apply paintings. Themythological perspective depicts movement, drama and diagonal compositionarrangement. You can find this movement and drama in the painting The virgin andchild with the young saint John the Baptist in the Madonnas movement of her arm asshe welcomes the young Saint to join her and her son. Also, in the composition of thethree. The Madonna is in the center of the painting thereby catching the look of the personlooking at the painting.Antonio Correggio was an obscure and eclectic painter. His art was a operator toreproduce life in its most persuasive domestic side. Later, he initiated a style ofsentimental elegance and certified allure with soft gestures and captivating allure byusing imaginary spaces as a replacement for reality. He used these elements of Manneristand Baroque stylistic approaches found at the time of the renaissance. Antonio Correggiois considered to this day to be one of the boldest and most inventive artist of the advancedRenaissance. He was revolutionary and is still potent for subsequent artists.Works Citedhttp//WWW.artic.edu/aic/collections/highlight_search?acc=1965.688&page=&1&ArtistID=310