Guercino


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Guercino

(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.

Bibliography

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).

Guercino

 

(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.

REFERENCES

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. As for Sebastian del Piombo there, you would judge for yourself; if it were not his later manner, the question was, Who was it?
Art works of Italian (Guercino, Leandro Bassano, Francesco Solimena, Lorenzo Bartolini), French (Jules Dupre, Gaspard Dughet, Pascal Dagnan-Bouveret, Jean-Joseph Benjamin-Constant), Dutch/Flemish (Frans Hals, Michiel Jansz van Mierevelt, Adriaen Brouwer, Adriaen van Ostade, Justus Sustermans, Pieter Claesz), German (Johann Heinrich Roos, Friedrich August von Kaulbach) and Polish (Jan Styka) painters are displayed in the museum.
Unusually, paintings by Guercino and Hans Baldung Grien were withdrawn --pre-sold to an as-yet-undisclosed good home.
A number of famous artists have been identified as having strabismus on the basis of the eye alignment evident from their self-portraits, including Rembrandt Harmenszoon van Rijn, Albrecht Duumlrer, Giovanni Francesco Barbieri (who was also known as Il Guercino, Italian for the squinter'), Edgar Degas, and Pablo Picasso," the study's author, neuroscientist Professor Christopher Tyler, said.
Mary Magdalene in early 17th-century Florence, and Guercino's Christ and the Woman of Samaria in the Kimbell Art Museum: the evolution of biblical narrative and visual meaning.
Leyenda: Giovanni Francesco Barbieri "II Guercino", (cento 1591 -Bolonia 1666) Expulsion de los mercaderes del Templo, siglo XVII Oleo sobre lienzo Coleccion Galeria Colnaghi
It is a study applying his critical (he says "poetical") apparatus to the works of Francesco Barbieri, called Guercino because of his slightly cross-eyed appearance.
Key works depicting the Doubting Thomas by Caravaggio, as well as others by Guercino and Mattia Preti, are also examined.
How do Sirani's paintings compare to those of the greatest seventeenth-century Bolognese artists, the Carracci, Guido Reni, Guercino, and Francesco Albani?
Also featured is work by famous artists such as Peter Lely, Peter Paul Rubens and Claude Lorrain, as well as Guercino's masterpiece Erminia and the Shepherd.
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.