Page:Biographical catalogue of the principal Italian painters.djvu/110

 GUARIENTI— GUIDO. 79 the additions to Orlandi's Jhecedario Pittorico, published at Venice, 1758. GUARTENTO, painted 1360. The oldest painter of Padaa, where, in the choir of the Ereniitani di Sant' Agostino, he executed some frescoes, allegories in chiaroscuro, of the planets. They were badly restored in 1589. Brando- lese praises the style of Guariento's figures for those times. The Academy also possesses some fragments of his frescoes. GUBBICS ODEmai da, d. about 1300. Umbrian School, and consi- dered the founder of the School of Bologna. He is mentioned by Dante as excelling in the art of miniature, and by Yasari as a friend of Giotto. He was rather the contemporary of Cimabae, and Dante (Purgatorio, c. xi.), in alluding to miniature painting, speaks of Oderigi as * L'onor d'Agob- bio, e l'onor di quell' arte.* GUERCINO. [Barbiem.] GUIDO RENI, (commonly called GuiDO,) h. at Calvenzano near Bo- logna, Nov. 4, 1575, d, Aug. 18, 1642. Bolognese School. Studied first under Denis Calvart, from whom, in 1595, he passed to the school of the Carracci. About 1602 Guido visited Rome, where he remained about twenty years, when he returned and settled in Bologna, and established a great school there. He painted in fresco and in oil. Guido had various styles : his earliest works were painted much in the for- cible manner of Michelangelo da Cara- yaggio, which he laid aside at Rome for one more in accordance with the prevailing taste of that school and of his own masters the Carracci, eclectic, ideal, and ornamental, as exemplified in his great work, the Aurora of the Rospigliosi Palace: in this second manner^ however, he preserved his effective light and shade. Latterly his habits and consequent circumstances led him into a negligent manner, and though he preserved a peculiar ideal, of which the Niobe seems to have been the type, he became extremely slight in execution, cold and silvery in colour, and instead of expression, substituted an empty sentimentality. Guido professed to have an ideal, and said that the model was of no conse< quence ; some of his Magdalens were painted from his colour grinder, the idea was '*tn testa," as, he expressed it. Guide's pictures are chiefly scrip- tural or mythological ; he painted few portraits; of the two former classes there are between two and three hun- dred in the various galleries of Europe. Guido led an extravagant and dissi- pated life, and though in the receipt for many years of a princely income, he died in debt When he first re- turned to Bologna his charges were moderate, but eventually he com- manded 25 guineas for a head, 50 for a half-length, and 100 for a full-length figure, enormous prices at that period. Domenichino received only 10 guineas for his great picture of the " Commu- nion of St. Jerome" in the Vatican. Works, Bologna, Gallery of the Aca- demy, the Coronation of the Virgin (c. 1595) ; the " Madonna della Pieta;" the Murder of the Innocents ; the Cruci- fixion; the Madonna and Child, in glory with San Petronio and other Saints; and five other pictures. Rome, Vatican, Crucifixion of St Peter (a re- markable work of Guide's first man- ner) ; Rospigliosi Palace, in the Gar- den House, Phcebus and the Hours preceded by Aurora (in his second manner, and commonly considered the painter's master-piece) ; San Gregorio, Martyrdom of St Andrew. Naples, San Martino, in the choir, the Nativity (unfinished). Dresden Gallery, *»Ecce Homo." Munich Gallery, Assumption of the Virgin. Berlin Gallery, St Paul and St Anthony in the Wilderness; the Trinity ; Venus, drc. In the Louvre