And in
this very feature he was one of the first men in Renaissance Italy to
paint a picture for the purpose of weaving a scheme of lights and
darks through a tapestry of rich colors. That is art for art's sake,
and that, as will be seen further on, was the picture motive of the
great Venetians.
Correggio's immediate pupils and followers, like those of Raphael and
Andrea del Sarto, did him small honor. As was usually the case in
Renaissance art-history they caught at the method and lost the spirit
of the master. His son, Pomponio Allegri (1521-1593?), was a painter
of some mark without being in the front rank. Michelangelo Anselmi
(1491-1554?), though not a pupil, was an indifferent imitator of
Correggio. Parmigianino (1504-1540), a mannered painter of some
brilliancy, and of excellence in portraits, was perhaps the best of
the immediate followers. It was not until after Correggio's death, and
with the painters of the Decadence, that his work was seriously taken
up and followed.
PRINCIPAL WORKS: MILANESE--Leonardo da Vinci, Last Supper S.
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