tury. According to his biographer, Carel van Mander,
Cornelis studied with Pieter Pietersz. at Haarlem. He is
recorded in Rouen in 1579 and in Antwerp in 1580. After
settling in Haarlem in 1580/81, he soon won fame with
his Banquet of the Civic Guard of Haarlem (1583; Haarlem,
Frans Halsmuseum). Around this time Cornelis is also
reported to have founded the "Haarlem Academy" with
Carel van Mander and Hendrick Goltzius, which prob-
ably provided the opportunity to draw from models and
casts. In 1591 he produced the life-size Massacre of the In-
nocents (Haarlem, Frans Halsmuseum), one of the most
important paintings of Dutch Mannerism. Between
1588 and 1602 Cornelis produced a number of designs for
prints. In 1630 he helped reorganize the Haarlem guild of
Saint Luke. Although few surviving drawings can be at-
tributed to him with certainty, the 1639 inventory of his
estate includes a large number of drawings of nudes,
heads, and drapery.
CORREGGIO (AntonioAllegri)
Correggio 1489/94-1534
Antonio Allegri, known as Correggio after the provin-
cial town of his birth, became one of the leading artists
of sixteenth-century Italy. He may have worked in Man-
tua around 1510-1514; this would account for the influ-
ence of Mantegna s art on his own early development, as
can be seen in the younger artist's Nativity (Milan, Pin-
acoteca di Brera) and Madonna of Saint Francis (1514-
1515 ; Dresden, Gemaldegalerie). Around 1518 Correg-
gio s style assumed a new monumentality and classical
beauty, suggesting that he made a visit during the teens
to Rome, where he saw the art of Raphael and Michel-
angelo. Characteristically, he emphasized the poetic fea-
tures of the High Renaissance style. Correggio created
his greatest fresco projects in Parma. His cupola deco-
rations, the Vision of Saint John on Patmos (1520-1524) in
San Giovanni Evangelista and the Assumption (1526-
1530) for the Duomo, which are populated with ani-
mated figures in heavenly celebration, established an im-
portant precedent for the Baroque era. The artist re-
turned to Correggio in 1530. Among his last works was
a series depicting the loves of Jupiter which included the
sensuous Jupiter and lo (1531; Vienna, Kunsthistorisches
Museum).
LUCAS CRANACH THE ELDER
Kronach 1472-Weimar 1553
Cranach, who was born in Upper Franconia, is generally
thought to have trained with his father, Hans. Around
1501 he traveled to Vienna, where he produced his earliest
known works, such as The Crucifixion (Vienna, Kunst-
historisches Museum). In their expressiveness and em-
phasis on the power and dynamism of nature, these com-
positions mark the beginning of the stylistic movement
known as the Danube school. In 1504 Cranach was called
to Wittenberg by Frederick the Wise of Saxony, and
stayed on to serve his two successors. In Wittenberg the
artist specialized in paintings and murals of courtly sub-
jects, including portraits, mythological themes, tro-
phies, and hunts. His large workshop included his sons
Hans (circa 1513-1537) and Lucas (1515-1586). From
1519 to 1545 Cranach served on the Wittenberg city coun-
cil and was burgomaster on three occasions. He was also
a close friend of Luther. Around 1550 Cranach went to
Augsburg to join his then-patron, Elector John Frederick
of Saxony, whom he accompanied in 1552 to Weimar,
where he died the following year.JACQUES-LOUIS DAVID
Paris 1748-Brussels 1825
David, who came from a family of artisans and shop-
keepers, was sent to train in the atelier of Joseph-Marie
Vien on the advice of Frangois Boucher. In 1774 , follow-
ing four unsuccessful attempts, David won the Prix de
Rome; he moved to that city the following year and re-
mained until 1780. In Rome he developed a passion for
classical antiquity from which he developed his own he-
roic style based on his perceptions of the moral and aes-
thetic values of that era. The Oath of the Horatii (Paris,
Louvre), which was completed during David's second
sojourn in Rome (1784-1787), established him as the
leader of the. Neoclassical school. It also signaled the be-
ginning of his partisan participation in French politics.
He became the artistic director of the Revolutionary re-
gime and portrayed many of its important and tragic
events, including the Tennis Court Oath (1791-1792;
Musee National du Chateau de Versailles) and the death
of Marat (1793; Brussels, Musees Royaux des Beaux-
Arts de Belgique). David was a superb portrait painter
who combined idealism with refinement, as can be seen
in the Portrait of Madame Serizat (1795; Paris, Louvre). He
retained the favor of Napoleon, for whose regime he
produced official commissions such as the Coronation of
Josephine (1805-1807; Paris, Louvre). With the fall of the
Empire, however, David sought asylum in Brussels,
where he spent his last years.CARLO DOLCI
Florence 1616-1686
Carlo Dolci was one of the leading painters of
seventeenth-century Florence. A precocious youth, he is
said to have entered the studio of Jacopo Vignali at ageARTISTS BIOGRAPHIES 337