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(gwĕrchē`nō), 1591–1666, Italian painter whose original name was Giovanni Francesco Barbieri, b. near Bologna. He studied with Ludovico CarracciCarracci
, family of Italian painters of the Bolognese school, founders of an important academy of painting. Lodovico Carracci, 1555–1619, a pupil of Tintoretto in Venice, was influenced by Correggio and Titian. He also studied in Bologna, Padua, and Parma.
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. Extremely skillful, prolific, and quick to finish his work, he was known for his frescoes, altarpieces, oils, and drawings. Between 1621 and 1623 he was in Rome, where he painted the Baroque ceiling frescos (Aurora) of the Casino Ludovisi and his superb Burial of St. Petronilla (Capitoline Mus., Rome). The classicist tendencies prevalent in Rome caused him to alter his style so that he never equaled the dramatic intensity of his early work. An extensive collection of his drawings is in the Royal Library at Windsor and other examples of his work are included in such major collections as the Metropolitan Museum of Art, the Hermitage, and the Getty Museum.


See D. Mahon, Studies in Seicento Art and Theory (1947); J. Brooks, Guercino: Mind to Paper (2006); S. Prasad, Guercino: Stylistic Evolution in Focus (2006).



(pseudonym of Giovanni Francesco Barbieri). Baptized Feb. 8, 1591, in Cento, Emilia-Romagna Province; died Dec. 22, 1666, in Bologna. Italian painter of the Bologna school.

Guercino studied in Cento and was influenced by L. Car-racci, Caravaggio, the Venetian artists, and G. Reni. He worked primarily in Cento and Bologna, but also in Venice (1618), Ferrara (1619), Rome (1621-23), Piacenza (1626-27), and Modena (1633-34). From 1642 he headed the Bologna Academy. In his best works, painted during 1610-20 (frescoes in the Casino Ludovisi, Rome, 1621; The Burial of St. Petronilla, 1621, the Capitoline Museum, Rome; The Ascension of the Madonna, 1623, the Hermitage, Leningrad), Guercino sought to combine a lifelike quality, dramatic emotional images, compositional dynamism, and sharp contrasts of light and shade with the splendid decorative manner of Carracci and with baroque effects. Guercino unequivocally adopted the academic style in the late 1620’s.


Grimaldi, N. II Guercino. Bologna, 1968.
II Guercino: Catalogo critico dei dipinti. Bologna, 1968.
References in classic literature ?
Sage, Reading' (a specially oily old gentleman in a blanket, with a swan's-down tippet for a beard, and a web of cracks all over him like rich pie-crust), to be a fine Guercino.
1645-55, Guercino (1591-1666), oil on canvas, 113 x 92.
How do Sirani's paintings compare to those of the greatest seventeenth-century Bolognese artists, the Carracci, Guido Reni, Guercino, and Francesco Albani?
Walk in and you can see it all still, the first gallery of the museum, just to the right of the entrance, the giant, dramatic, luminous Rubens cartoons--"Look here, we must buy those pictures"--and then room after room of paintings from Europe from the Middle Ages to the 1800s, Italian and French Baroque, masterpieces by Anthony Van Dyck, Titian, Tintoretto, Paolo Veronese, Diego Velazquez, El Greco, Giovanni Battista Tiepolo, Guercino, Domenico Ghirlandaio, Benedetto Gennari, Pietro da Cortona, and the interiors of whole regal rooms from the old Astor mansion from Gilded Age Manhattan, all of this housed in a museum design in a style that manages to mix the Italian Renaissance and Ringling's Florida, the U-shaped structure, the open courtyard.
For instance, we know that pricing by number of figures became a typical procedure during the early 600s for leading painters such as Guercino, Domenichino, and Guido Reni.
But Federico called in experts who found he had bought a 1630s painting by Italian master Guercino.
Humbert observed the use of the expression Et in Arcadia Ego with regard to the British garden architecture, as a combination of symbols related to happiness, love and death, which had been "celebrated by the previous century architecture, with Gian Francesco Barbieri Guercino or Nicolas Poussin"(Humbert: 2006, p.
so Guercino Cento FE as a result of seismic events of May 2012, in compliance with the requirements of Ordinance no.
Castello, Luca Cambiaso, Stradano, Alessandro Allori, Carracci y El Guercino.
But it is also at the beginning of the chapter entitled 'Rome' that Roderick, after visiting Villa Ludovisi and seeing a fresco by Guercino, states that he has 'an indigestion of impressions' (222).
Sin duda, el mejor referente y la mas sutil constatacion de esto nos la proporciona el propio Piranesi en el frontispicio, realizado en 1764 a partir de un dibujo de Guercino, de una pequena raccolta de estampas de disenos del pintor de Cento (53); un personaje parece descansar abatido e inmerso en su propia melancolia, que es tambien el "cansancio" del acto creativo; aparece a modo de retrato sobre los instrumentos de su arte -paleta y pinceles- donde se incluye el mote "col sporcar si trova", literalmente "en el ensuciar se encuentra", en precisa alusion al ennegrecimiento que, ante todo, va afectar a las ruinas antiguas segun el cerveau noir de Piranesi, al que aludia Marguerite Yourcenar.
En la Sala Carlos Fuentes, creada en honor de quien fue alumno de Reyes, se encuentran alrededor de 20 cuadros, como un bodegon, realizado en Espana, del uruguayo Rafael Barradas, asi como la acuarela y tinta sobre papel de Alberto Da Veiga Guignard titulada Caballo-hombremujer (1931) y una Dolorosa del Guercino del pintor italiano Giovanni Francesco Barbieri, de la cual Reyes da cuenta de su compra en su diario con fecha octubre de 1925.