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Augusta Stylianou Gallery 
Guido Reni Paintings
Christ embracing Saint John the Baptist
Lot and his Daughters leaving Sodom
The Adoration of the Shepherds
Adoration of the Shepherds, Detail
Adoration of the Shepherds, Detail
Adoration of the Shepherds, Detail
Atalanta and Hippomenes, Detail
Atalanta and Hippomenes, Detail
Massacre of the Innocents, Detail
Massacre of the Innocents, Detail
Massacre of the Innocents, Detail
David with the Head of Goliath
David with the Head of Goliath, Detail
The Abduction of Helen, Detail
The Abduction of Helen, Detail
The circumcision of the Child Jesus
The Purification of the Virgin
The Purification of the Virgin, Detail
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Guido Reni (4 November 1575 – 18 August 1642) was an Italian painter of high-Baroque style.
Born in Bologna into a family of musicians, Guido Reni was the son of Daniele Reni and Ginevra de’ Pozzi. As a child of nine, he was apprenticed under the Bolognese studio of Denis Calvaert. Soon after, he was joined in that studio by Albani and Domenichino. He may also have trained with a painter by the name of Ferrantini. When Reni was about twenty years old, the three Calvaert pupils migrated to the rising rival studio, named Accademia degli Incamminati (Academy of the "newly embarked", or progressives), led by Lodovico Carracci. They went on to form the nucleus of a prolific and successful school of Bolognese painters who followed Annibale Carracci to Rome. Like many other Bolognese painters, Reni's painting was thematic and eclectic in style. Work in Rome By late 1601, Reni and Albani had moved to Rome[1] to work with the teams led by Annibale Carracci in fresco decoration of the Farnese Palace. During 1601-1604, his main patron was Cardinal Paolo Emilio Sfondrati. By 1604-1605, he received an independent commission for an altarpiece of the Crucifixion of St. Peter. After a few year sojourn in Bologna, he returned to Rome to become one of the premier painters during the papacy of Paul V (Borghese). From 1607-1614, he was one of the painters patronized by the Borghese family.
He also frescoed in Paoline Chapel of Santa Maria Maggiore in Rome as well as the Aldobrandini wings of the Vatican. According to rumor, the pontifical chapel of Montecavallo (Chapel of the Annuciation) was assigned to Reni to paint. However, because he felt underpaid by the ministers, the artist left for Bologna, leaving the role of the preeminent artist in Rome to Domenichino. Work in Naples and return to Bologna In later years, Reni traveled to Naples to complete a commission to paint a ceiling in a chapel of the San Gennaro. However, in Naples, the other local prominent painters, including Corenzio, Caracciolo and Ribera, were vehemently resistant to competitors, and according to rumor, conspired to poison or otherwise harm Reni (as may have befallen Domenichino in Naples after him). He passed briefly by Rome, but left that city abruptly, during the pontificate of Urban VIII, after being reprimanded by Cardinal Spinola. Returning to Bologna, more or less permanently, Reni established a successful and prolific studio. He was commissioned to decorate the cupola of the chapel of Saint Dominic in the Basilica of San Domenico in Bologna, between 1613 and 1615, resulting in the radiant fresco St Dominic's Glory, a masterpiece that can stand the comparison with the exquisite Arca di San Domenico below. He also contributed to the decoration of the Rosary Chapel in the same church with the Resurrection. In Ravenna, he painted the chapel in the cathedral with his admired picture of the Israelites gathering Manna. Reni, after departing Rome, alternately painted in a variety of styles, true to the eclectic tastes of many of Carracci trainees. For example, his altarpiece for Samson Victorious formulates stylized poses characteristic of Mannerism[6]. In contrast his Crucifixion and his Atlanta and Hipomenes[1] depict dramatic diagonal movement coupled with the effects of light and shade that betray the influence of Caravaggio. His turbulent and violent Massacre of the Innocents (Pinacoteca, Bologna) is painted in a manner reminiscent of Raphael. In 1625 Prince Władysław Sigismund Vasa of Poland visited the artist workshop in Bologna during his voyage to Western Europe.[7] The close rapport between the painter and the Polish Prince resulted in the acquisitions of drawings and paintings.[7] In 1630, he painted the Pallion del Voto with images of St. Ignatius and Francis Xavier, painted during the plague of 1630 that attacked Bologna. His most distinguished pupil was Simone Cantarini, named "Il Pesarese"; he painted a portrait of his master, now in the Bolognese Gallery. Other trainees were Domenico Maria Canuti and Giovanni Battista Michelini. The Uffizi Gallery holds a self-portrait. Other pupils were Giacomo Semenza, Francesco Gessi, and Marco Bandinelli. His themes are mostly biblical and mythological in subject. He painted few portraits; those of Sixtus V, Cardinal Bernardino Spada, and the so‑called Beatrice Cenci are among the most noticeable. The identity of the Cenci portrait is very doubtful, since Beatrice Cenci was executed in Rome before Reni ever lived there and so could not have sat for the portrait. Many etchings are attributed to Guido Reni, some after his own paintings and some after other masters. They are spirited, in a light style of delicate lines and dots. Reni's technique was used by the Bolognese school and was the standard for Italian printmakers of his time.[8] Reni died in Bologna in 1642. He is buried with Elisabetta Sirani in the Rosary Chapel of the Basilica of San Domenico in Bologna. Partial anthology of works * Self-Portrait, Whitfield Fine Art[2] The Louvre contains twenty of his pictures, the National Gallery of London seven, and others once there have now been removed to other public collections. The most interesting of the seven is the small Coronation of the Virgin, painted on copper. It was probably painted before the master left Bologna for Rome. References * This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed (1911). Encyclopædia Britannica (Eleventh ed.). Cambridge University Press.
1. ^ Guido Reni: A Review Reviewed,Stephen D. Pepper; Richard E. Spear. The Burlington Magazine (1990)132(10): p219-223. Retrieved from "http://en.wikipedia.org/ ", Text is available under the Creative Commons Attribution-ShareAlike License ==--==--==
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