<br><p><b>Identifier</b>: antonioallegrida00riccrich (<a class="external text" href="https://commons.wikimedia.org/w/index.php?title=Special%3ASearch&amp;profile=default&amp;fulltext=Search&amp;search=insource%3A%2Fantonioallegrida00riccrich%2F">find matches</a>)<br><b>Title</b>: <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookidantonioallegrida00riccrich">Antonio Allegri da Correggio, his life, his friends, and his time</a><br><b>Year</b>: <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookyear1896">1896</a> (<a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookdecade1890">1890s</a>)<br><b>Authors</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookauthorRicci__Corrado__1858_1934">Ricci, Corrado, 1858-1934</a> <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookauthorSimmons__Florence">Simmons, Florence</a><br><b>Subjects</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/booksubjectCorreggio__1489__1534">Correggio, 1489?-1534</a><br><b>Publisher</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookpublisherNew_York___Charles_Scribner_s_sons">New York : Charles Scribner's sons</a><br><b>Contributing Library</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookcontributorUniversity_of_California_Libraries">University of California Libraries</a><br><b>Digitizing Sponsor</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/booksponsorMSN">MSN</a><br><br><b>View Book Page</b>: <a rel="nofollow" class="external text" href="https://archive.org/stream/antonioallegrida00riccrich/antonioallegrida00riccrich#page/n163/mode/1up">Book Viewer</a><br><b>About This Book</b>: <a rel="nofollow" class="external text" href="https://archive.org/details/antonioallegrida00riccrich">Catalog Entry</a><br><b>View All Images</b>: <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookidantonioallegrida00riccrich">All Images From Book</a><br>
Click here to <a rel="nofollow" class="external text" href="https://archive.org/stream/antonioallegrida00riccrich/antonioallegrida00riccrich#page/n163/mode/1up"><b>view book online</b></a> to see this illustration in context in a browseable online version of this book.<br><br><b>Text Appearing Before Image:</b><br><i>irgin, with a large mouth and rather long nose,and the Infant with the tripartite arrangement of the hair, a long-central lock overhanging the middle of the forehead, are to be found inthe Repose in Egypt of the Ufhzi, in the Madonna z^itli the /wo Children,at Madrid, in the Jirgin and Child loith St. Joseph and St. James,at Hampton Court ; they also, as we learn from surviving copies,appeared in the lost Albinea picture. The inclination of the Virginshead is another characteristic shared by the three latter. Indeed, theVirgin and Child of the Prado may be described as identical with thesame group in the Hampton Court picture, where the St. Joseph of theRepose in Egypt re-appears as St. James. The hang of the draperiesis still very sculpturesque, and, though less severe than in the pictureswhich precede the San Francesco Madonna, it is as yet unbroken bythat i)lay of flowing mantles and fluttering veils which distinguishesthe Diana of the Camera di San Paolo, and succeeding works. The</i><br><b>Text Appearing After Image:</b><br><i>Uffizi Gallery, KI. I.A ZINGARRLLA 115 robes aru little more than ample shirts, which the painter allows to lallin vertical folds over the breasts and arms of his figures, a mannerismhe afterwards entirely repudiated, recognising the value of greaterfreedom and animation. The Ziii_s;arclla, the St. Lucy of theAlbinea picture, and the Madonna of the Repose in Egypt haveanother distinguishing- peculiarity in the curious fold of the sleeve, theupper part of which is doubled over the fore-arm, wrapping it roundlike a bandage. These singularities of colour, type, attitude, and drapery mark astage in the painters development hitherto neglected by the critic.We have described it as a painful interlude, for such, we are wellassured, it was to the painter himself He was struggling desperatelyto express his own personality, despairing at times of reaching thelonged-for goal, determined never to return to the trammels of earlierformulce, yet oppressed by his inability to give life to the ideas t</i><br><br><b>Note About Images</b><br></p>
<i>Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.</i>
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1896<div style="display: none;">date QS:P571,+1896-00-00T00:00:00Z/9</div>
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<ul><li>Source book page: <a rel="nofollow" class="external free" href="https://archive.org/stream/antonioallegrida00riccrich/antonioallegrida00riccrich#page/n163/mode/1up">https://archive.org/stream/antonioallegrida00riccrich/antonioallegrida00riccrich#page/n163/mode/1up</a></li></ul>