Lanfranco, Giovanni (jōvän`nē länfräng`kō), 1582–1647, Italian painter. Lanfranco is considered one of the foremost artists of the High Baroque. He was trained by the Carracci Lodovico Carracci, 1555–1619, a pupil of Tintoretto in Venice, was influenced by Correggio and Titian. He also studied in Bologna, Padua, and Parma. With his cousins, Agostino and Annibale, and with Anthony de la Tour, he established in Bologna an academy of painting that
..... Click the link for more information. and worked primarily in Rome and Naples, where he executed numerous decorative plans for churches and palaces. Lanfranco greatly extended the scope of the illusionism illusionism, in art, a kind of visual trickery in which painted forms seem to be real. It is sometimes called trompe l'oeil [Fr.,=fool the eye]. The development of one-point perspective in the Renaissance advanced illusionist technique immeasurably.
..... Click the link for more information. that he had studied in the works of Correggio and the Carracci. His remarkable trompe l'oeil designs, characterized by piercing shafts of light illuminating boldly foreshortened, cloud-borne figures that recede into infinite celestial distances, were endlessly imitated throughout Europe. Among his greatest works are the ceiling of the Casino Borghese (1616) and the dome of San Andrea della Valle (1621–25), both in Rome, and the magnificent ceiling of the Chapel of San Gennaro in Naples Cathedral (1641). The brilliant, translucent quality of his later works is displayed by his apse painting for San Carlo ai Catinari (Rome, 1646), his last work.

Lanfranco, Giovanni

(born Jan. 26, 1582, Parma—died Nov. 30, 1647, Rome) Italian painter. He studied with Agostino Carracci. In 1602 he went to Rome to work with Annibale Carracci in the Farnese Palace. After Annibale's death, he became the leading fresco painter in Rome. His work shows the influence of Correggio's dynamic illusionism. His masterpiece is the Assumption of the Virgin in the dome of Sant'Andrea della Valle (1625–27), which he took over from his rival, Domenichino; with its vigorously painted figures floating in the clouds over the viewer, it is a pivotal work of the Baroque period. He worked in Naples 1633–46; his best-known work there is the dome of the chapel of San Gennaro in the cathedral (1641–46).