Guido Reni

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Reni, Guido

Reni, Guido (gwēˈdō rĕˈnē), 1575–1642, Italian painter and engraver, b. Bologna. As a child he entered the studio of the Flemish painter Denis Calvaert. He was for a short time (c.1595) a pupil of the Carracci, who were then at the height of their popularity. By 1598 he had been commissioned by the government to execute decorative frescoes for the facade of the Palazzo Pubblico. Shortly after 1600 he made the first of his many trips to Rome, which was to become the center of his activities until 1614. He became a rival of Caravaggio, whose work clearly influenced his famous Crucifixion of St. Peter (Vatican). He worked (c.1608–c.1609) on frescoes in the Church of San Gregorio Magno (Rome). There, in his God the Father above a Concert of Angels, he displays the grandeur of style and glittering tonality characteristic of his most renowned work, the Aurora fresco of 1613, in the Rospigliosi Palace, Rome. In 1620 he began the frescoes and the altarpiece Israelites Gathering the Manna, in the cathedral at Ravenna. During the latter part of his life he returned to Bologna, where he established his own academy. Among his many works in European museums are Atalanta and Hippomenes (Prado) and Ecce Homo (versions in the National Gall., London, and the Louvre) and Mater Dolorosa (versions in the Corsini Gall., Rome, and in Berlin). He made engravings of his own and others artists' works. In spite of his voluptuous sentimentality, Guido's abilities surpassed those of most of his Bolognese contemporaries. During the 17th and 18th cent. he was held in great esteem.


See study by D. S. Pepper (1984).

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Reni, Guido


Born Nov. 4, 1575, in Calvenzano, Emilia-Romagna; died Aug. 18, 1642, in Bologna. Italian painter.

Reni was greatly influenced by the Carracci brothers, Raphael, Caravaggio, and the artists of ancient Greece and Rome. He worked primarily in Rome (from 1605) and Bologna (from 1622). His mature works combine balanced, clear, and frequently relief-like composition with a palette consisting of gradations of warm golden or illuminated silver tones (for example, the fresco decoration Aurora, Rospigliosi Palace, Rome, c. 1610). Saccharine sentimentality or cold idealization (for example, Atalanta and Hippomenes, Capodimonte Museum, Naples) intensified in Reni’s works of his Bologna period. As a result, Reni’s name was often considered in later periods as a synonym for an academic artist.


Shcherbacheva, M. I. “Kartiny Gvido Reni v sobranii Ermitazha.” Trudy gosudarstvennogo Ermitazha, vol. 1. Moscow, 1956. Pages 73–80.
Gnudi, C, and G. C. Cavalli. Guido Reni. [Florence, 1955.]
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in classic literature ?
John," some Della Robbia babies, and some Guido Reni Madonnas.
A Leonardo da Vinci B Guido Reni C Raphael D Michelangelo 15.
Over jumps, Guido Reni and The Last Indian went up 12lb to marks of 102 for winning the two divisions of a handicap hurdle at Tipperary on Thursday.
He was Keeper of the Ashmolean from 1884 to 1908 and presented a number of his pictures to the museum, including one which he attributed (wrongly) to Guido Reni and another possibly by Pietro Paolini.
Y ffenstr orllewinol, yn uchel tu cefn i'r allor, ac o ganlyniad yn anodd i gael lluniau da ohoni, yw'r un enwog fel petae, sydd yn dangos Sant Mihangel yn trechu Satan, gan ddefnyddio llun yr arlunydd Guido Reni o 1636 fel ysbrydoliaeth ar gyfer y cartwn (cynllun).
Born in Bologna, Elisabetta Sirani was the eldest daughter of the painter Giovanni Andrea Sirani (1610-1670), a pupil of Guido Reni. As a woman, she was unable to study the male nude in local drawing academies, and her direct access to art was limited to her father's workshop where she trained, her parish church, patrons' palaces, and public exhibitions on holidays.
Saint Joseph and the Christ Child: The idea is based on Italian Guido Reni's original painting (1638-1640).
With Barocci we are a long way from Raphael and much closer to Baroque masters such as Guido Reni or Murillo; those who find Madonnas by these artists (or even by Raphael) too sweet or sentimental may have a similar reaction to those of Barocci.
Some of the paintings, by artists including Guercino, Guido Reni, Domenichino and Giovanni Antonio Pellegrini were bought for as little as PS100 in the mid-20th century but the value of the entire collection is now put at more than PS100 million.