Background
Guercino was born Giovanni Francesco Barbieri in Cento, near Bologna, on Feb. 8, 1591. Guercino means "squinter".
Guercino was born Giovanni Francesco Barbieri in Cento, near Bologna, on Feb. 8, 1591. Guercino means "squinter".
From 1617 to 1621 Guercino resided in Bologna, where he painted his most original works. His point of departure was Ludovico's romanticism and religious emotion, as well as Lanfranco's atmospheric painting. With his great altar pieces, like the "Martyrdom of St. Peter" (Modena), the "Ecstasy of St. Francis" (Louvre), the "Return of the Prodigal Son" (Turin), and the "St. William Taking the Habit" (Bologna), Guercino established his loose and "painterly" baroque manner. This was based upon a dissolution of structural form by means of light which emphasized salient points, leaving others in impenetrable shadow; by diagonal movements into depth of space, which remained largely undefined; by asymmetrical composition; and by rich Venetian color. Guercino visited Venice in 1618 and was deeply influenced by masters like Tintoretto and Jacopo Bassano.
In 1621 the Bolognese Cardinal Alessandro Ludovisi became Pope Gregory XV, and he patronized artists from his native city. Guercino went to Rome and painted his famous "Aurora" in the Casino Ludovisi.
But classical Rome had its restraining influences upon Guercino's baroque manner. Classical theorists like Bellori and Monsignore Agucchi favored Annibale Carracci and Domenichino, and this caused Guercino to adapt his style to Roman requirements. "Burial of St. Petronilla" (1623) and "Penitent Magdalena" are among his best known Roman painting.
When Guercino returned to Cento after the death of Pope Gregory in 1623, his palette began to lighten and his youthful baroque manner underwent modifications in the classical direction, especially through the influence of Guido Reni, whose fame in nearby Bologna was at its height. After Reni's death in 1642 Guercino inherited his position there. The style of his later paintings became more conventional, in works like The "Virgin Appearing to St. Bruno" (Bologna), the "Angel Appearing to Hagar and Ishmael" (1652), and the "Cumaean Sibyl" (1651) (Mahon Collection, London).
