Two major exhibitions, symposia, and several new publications have recently reconsidered the art of the Italian painter Correggio (1489–1534), but its understanding remains problematic within the current paradigms of Renaissance art. Correggio's art has generated oppositional responses in the scholarship, ranging from its being considered an embodiment of "Renaissance classicism," to its characterization as "proto-baroque," or to the artist's supposed exemplary status as a "post-classical" master. One of the central questions underlying the seminar is: where does Correggio's art fit in the current Renaissance art history? The work of Correggio and its reception will be examined not just in and of itself, but as paradigmatic of the interpretative impasse that characterizes Renaissance art history as it is currently practiced. The seminar will consider Correggio's most ambitious projects — his altarpieces, domes decorations, and erotic images — and reconstruct their referential structures and meanings. But the examination of this still undervalued protagonist of Renaissance art will serve as a springboard for reflecting upon larger problems in the field: the ontological status of Renaissance art history, its methods and approaches, and the present-day "crisis" of interpretation.