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Parmigianino

January 01, 1970

Girolamo Francesco Maria Mazzola (11 January 1503 – 24 August 1540), also known as Francesco Mazzola or, more commonly, as Parmigianino (UK: /ˌpɑːrmɪdʒæˈniːnoʊ/,[2] US: /-dʒɑːˈ-/,[3] Italian: [parmidʒaˈniːno]; "the little one from Parma"), was an Italian Mannerist painter and printmaker active in Florence, Rome, Bologna, and his native city of Parma. His work is characterized by a "refined sensuality" and often elongation of forms and includes Vision of Saint Jerome (1527) and the iconic if somewhat anomalous Madonna with the Long Neck (1534), and he remains the best known artist of the first generation whose whole careers fall into the Mannerist period.[4]

Parmigianino
Born
Girolamo Francesco Maria Mazzola

(1503-01-11)11 January 1503
Parma, Duchy of Milan
Died24 August 1540(1540-08-24) (aged 37)
Casalmaggiore, Republic of Venice
NationalityItalian
Known forPainting, etching
Notable workSelf-portrait in a Convex Mirror
Vision of Saint Jerome
Madonna with the Long Neck
Height1.63 m (5 ft 4 in)
MovementMannerist

His prodigious and individual talent has always been recognised, but his career was disrupted by war, especially the Sack of Rome in 1527, three years after he moved there, and then ended by his death at 37. He produced outstanding drawings, and was one of the first Italian painters to experiment with printmaking himself. While his portable works have always been keenly collected and are now in major museums in Italy and around the world, his two large projects in fresco are in a church in Parma and a palace in a small town nearby. This in conjunction with their lack of large main subjects has resulted in their being less well known than other works by similar artists. He painted a number of important portraits, leading a trend in Italy towards the three-quarters or full-length figure, previously mostly reserved for royalty.

Bardi Altarpiece (1521)

Early years edit

Parmigianino was the eighth child of Filippo Mazzola and one Donatella Abbati. His father died of the plague two years after Parmigianino's birth, and the children were raised by their uncles, Michele and Pier Ilario, who according to Vasari were modestly talented artists.[5] In 1515, his uncle received a commission from Nicolò Zangrandi for the decoration of a chapel in San Giovanni Evangelista; a work later completed by a young Parmigianino. By the age of eighteen, he had already completed the Bardi Altarpiece. In 1521, Parmigianino was sent to Viadana (along with painter Girolamo Bedoli who was to marry his cousin) to escape the wars between the French, Imperial, and papal armies. In Viadana, he painted two panels in tempera, depicting Saint Francis for the church of the Frati de' Zoccoli, and the Mystical Marriage of Saint Catherine for San Pietro. He also worked in San Giovanni and met Correggio, who was at work on the fresco decorations of the cupola.

Work in Fontanellato and travel to Rome edit

 
Vision of Saint Jerome (detail)

In 1524, he traveled to Rome with five small paintings, including the Circumcision of Jesus and his Self-portrait in a Convex Mirror, seeking patronage of the Medici pope, Clement VII. Vasari records that in Rome, Parmigianino was "celebrated as a Raphael reborn". In January 1526, Parmigianino and his uncle, Pier Ilario, agreed with Maria Bufalina from Città di Castello, to decorate the church of San Salvatore in Lauro with an altarpiece of the Vision of Saint Jerome (1526–27, National Gallery, London). Within a year, the Sack of Rome caused Parmigianino, and many other artists, to flee.

Bologna and return to Parma edit

He resided in Bologna for nearly three years. At around 1528, he painted the Madonna and Child with Saints (Pinacoteca, Bologna), then later in 1528, he painted Madonna con la Rosa (Dresden) and Madonna with Saint Zachariah (Uffizi). By 1530 Parmigianino had returned to Parma.

In 1531, Parmigianino received a commission for two altarpieces, depicting Saint Joseph and Saint John the Baptist, from the unfinished church of Santa Maria della Steccata. The brotherhood overseeing the church advanced him salary and promised him the supplies and materials; however, by 1535, the project was unfinished. In December, he nominated Don Nicola Cassola, a Parman cleric at the Roman Curia, to act as his legal representative. Parmigianino authorized him to collect the 50 gold scudi from Bonifazio Gozzadini for the Madonna with St. John the Baptist and St. Zacharias.

In 1534, it was decided that the Madonna dal collo lungo (the Madonna with the Long Neck) would hang in the chapel of the family of Elena Baiardi.

Parmigianino had probably expected to succeed Correggio in the favour of the church. However, in April 1538, the administrative offices commissioned initially Giorgio Gandini del Grano, then Girolamo Bedoli, to decorate the apse and choir of the Parma Cathedral.

It is believed that at this time, he became a devotee of alchemy. Vasari hypothesizes that this was due to his fascination with magic. Scholars now agree that Parmigianino's scientific interests may have been due to his obsession with trying to find a new medium for his etchings.[citation needed] As a result of his alchemical researches, he completed little work in the church. He was imprisoned for two months for breach of contract after the Confraternita decided unanimously to ban him from continuing in their church. He was replaced between 1539 and 1540 by Giulio Romano, who also promptly withdrew from the contract.

Parmigianino died of a fever in Casalmaggiore on 24 August 1540 at the age of 37 years. He is buried in the church of the Servite Friars "naked with a cross made of cypress wood on his chest".

Among those closely influenced by Parmigianino were his cousin Girolamo Mazzuoli and Girolamo's son Alessandro Mazzuoli; Pomponeo Amidano; Giacomo Bertoia; and Francesco Borgani.[6]

Works edit

 
Self-portrait with red beret (1540)
 
Portrait of Galeazzo Sanvitale, 1524, Museo di Capodimonte

Parmigianino was also an early Italian etcher, a technique that was pioneered in Italy by Marcantonio Raimondi, but which appealed to draughtsmen. Though the techniques of printing the copper plates required special skills, the ease with which acid, as a substitute for ink, could reproduce the spontaneity of an artist's hand attracted Parmigianino, a "master of elegant figure drawing".[7] Parmigianino also designed chiaroscuro woodcuts, and although his output was small he had a considerable influence on Italian printmaking. Some of his prints were done in collaboration with Giovanni Jacopo Caraglio.

Selected works edit

See also edit

Notes edit

  1. ^ Oil on wood, diameter 24.4 cm; Kunsthistorisches Museum, Vienna.
  2. ^ . Lexico UK English Dictionary. Oxford University Press. Archived from the original on 2021-09-27.
  3. ^ "Parmigianino". Merriam-Webster.com Dictionary. Retrieved 15 June 2019.
  4. ^ Hartt, pp. 568–578, 578 quoted
  5. ^ Vasari, Giorgio (Bull, George, translator) (1988). Lives of the Artists: Volume 2, pp. 185–99. Penguin Classics. ISBN 0-14-044460-2.
  6. ^ The picture amateur's handbook and dictionary of painters, by Philippe Daryl and Paschal Grousset, Londong, 1878.
  7. ^ Michelle Leicht, "Correggio and Parmigianino", exhibition, Metropolitan Museum of Art, 2001 (on-line review)

References edit

 
Wikimedia Commons has media related to Parmigianino.

External links edit

  Media related to Parmigianino at Wikimedia Commons

  • Parmigianino's biography, style and artworks
  • Parmigianino Biography at the National Gallery
  • Parmigianino Gallery at MuseumSyndicate
  • Prints & People: A Social History of Printed Pictures, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Parmigianino (see index)
  • Rossetti, William Michael (1911). "Parmigiano" . Encyclopædia Britannica. Vol. 20 (11th ed.). p. 853.

January 01, 1970
parmigianino, girolamo, francesco, maria, mazzola, january, 1503, august, 1540, also, known, francesco, mazzola, more, commonly, ɑːr, ɑː, italian, parmidʒaˈniːno, little, from, parma, italian, mannerist, painter, printmaker, active, florence, rome, bologna, na. Girolamo Francesco Maria Mazzola 11 January 1503 24 August 1540 also known as Francesco Mazzola or more commonly as Parmigianino UK ˌ p ɑːr m ɪ dʒ ae ˈ n iː n oʊ 2 US dʒ ɑː ˈ 3 Italian parmidʒaˈniːno the little one from Parma was an Italian Mannerist painter and printmaker active in Florence Rome Bologna and his native city of Parma His work is characterized by a refined sensuality and often elongation of forms and includes Vision of Saint Jerome 1527 and the iconic if somewhat anomalous Madonna with the Long Neck 1534 and he remains the best known artist of the first generation whose whole careers fall into the Mannerist period 4 ParmigianinoSelf portrait in a Convex Mirror c 1524 age about 21 1 Kunsthistorisches Museum ViennaBornGirolamo Francesco Maria Mazzola 1503 01 11 11 January 1503Parma Duchy of MilanDied24 August 1540 1540 08 24 aged 37 Casalmaggiore Republic of VeniceNationalityItalianKnown forPainting etchingNotable workSelf portrait in a Convex MirrorVision of Saint JeromeMadonna with the Long NeckHeight1 63 m 5 ft 4 in MovementMannerist His prodigious and individual talent has always been recognised but his career was disrupted by war especially the Sack of Rome in 1527 three years after he moved there and then ended by his death at 37 He produced outstanding drawings and was one of the first Italian painters to experiment with printmaking himself While his portable works have always been keenly collected and are now in major museums in Italy and around the world his two large projects in fresco are in a church in Parma and a palace in a small town nearby This in conjunction with their lack of large main subjects has resulted in their being less well known than other works by similar artists He painted a number of important portraits leading a trend in Italy towards the three quarters or full length figure previously mostly reserved for royalty Bardi Altarpiece 1521 Contents 1 Early years 2 Work in Fontanellato and travel to Rome 3 Bologna and return to Parma 4 Works 4 1 Selected works 5 See also 6 Notes 7 References 8 External linksEarly years editParmigianino was the eighth child of Filippo Mazzola and one Donatella Abbati His father died of the plague two years after Parmigianino s birth and the children were raised by their uncles Michele and Pier Ilario who according to Vasari were modestly talented artists 5 In 1515 his uncle received a commission from Nicolo Zangrandi for the decoration of a chapel in San Giovanni Evangelista a work later completed by a young Parmigianino By the age of eighteen he had already completed the Bardi Altarpiece In 1521 Parmigianino was sent to Viadana along with painter Girolamo Bedoli who was to marry his cousin to escape the wars between the French Imperial and papal armies In Viadana he painted two panels in tempera depicting Saint Francis for the church of the Frati de Zoccoli and the Mystical Marriage of Saint Catherine for San Pietro He also worked in San Giovanni and met Correggio who was at work on the fresco decorations of the cupola Work in Fontanellato and travel to Rome edit nbsp Vision of Saint Jerome detail In 1524 he traveled to Rome with five small paintings including the Circumcision of Jesus and his Self portrait in a Convex Mirror seeking patronage of the Medici pope Clement VII Vasari records that in Rome Parmigianino was celebrated as a Raphael reborn In January 1526 Parmigianino and his uncle Pier Ilario agreed with Maria Bufalina from Citta di Castello to decorate the church of San Salvatore in Lauro with an altarpiece of the Vision of Saint Jerome 1526 27 National Gallery London Within a year the Sack of Rome caused Parmigianino and many other artists to flee Bologna and return to Parma editHe resided in Bologna for nearly three years At around 1528 he painted the Madonna and Child with Saints Pinacoteca Bologna then later in 1528 he painted Madonna con la Rosa Dresden and Madonna with Saint Zachariah Uffizi By 1530 Parmigianino had returned to Parma In 1531 Parmigianino received a commission for two altarpieces depicting Saint Joseph and Saint John the Baptist from the unfinished church of Santa Maria della Steccata The brotherhood overseeing the church advanced him salary and promised him the supplies and materials however by 1535 the project was unfinished In December he nominated Don Nicola Cassola a Parman cleric at the Roman Curia to act as his legal representative Parmigianino authorized him to collect the 50 gold scudi from Bonifazio Gozzadini for the Madonna with St John the Baptist and St Zacharias In 1534 it was decided that the Madonna dal collo lungo the Madonna with the Long Neck would hang in the chapel of the family of Elena Baiardi Parmigianino had probably expected to succeed Correggio in the favour of the church However in April 1538 the administrative offices commissioned initially Giorgio Gandini del Grano then Girolamo Bedoli to decorate the apse and choir of the Parma Cathedral It is believed that at this time he became a devotee of alchemy Vasari hypothesizes that this was due to his fascination with magic Scholars now agree that Parmigianino s scientific interests may have been due to his obsession with trying to find a new medium for his etchings citation needed As a result of his alchemical researches he completed little work in the church He was imprisoned for two months for breach of contract after the Confraternita decided unanimously to ban him from continuing in their church He was replaced between 1539 and 1540 by Giulio Romano who also promptly withdrew from the contract Parmigianino died of a fever in Casalmaggiore on 24 August 1540 at the age of 37 years He is buried in the church of the Servite Friars naked with a cross made of cypress wood on his chest Among those closely influenced by Parmigianino were his cousin Girolamo Mazzuoli and Girolamo s son Alessandro Mazzuoli Pomponeo Amidano Giacomo Bertoia and Francesco Borgani 6 Works edit nbsp Self portrait with red beret 1540 nbsp Portrait of Galeazzo Sanvitale 1524 Museo di Capodimonte Parmigianino was also an early Italian etcher a technique that was pioneered in Italy by Marcantonio Raimondi but which appealed to draughtsmen Though the techniques of printing the copper plates required special skills the ease with which acid as a substitute for ink could reproduce the spontaneity of an artist s hand attracted Parmigianino a master of elegant figure drawing 7 Parmigianino also designed chiaroscuro woodcuts and although his output was small he had a considerable influence on Italian printmaking Some of his prints were done in collaboration with Giovanni Jacopo Caraglio Selected works edit Baptism of Christ c 1519 Oil on wood 197 x 137 cm Gemaldegalerie Berlin Bardi Altarpiece 1521 Tempera on panel 203 x 130 cm Church of Santa Maria Bardi Saint Barbara 1522 Oil on Wood 48 x 39 cm Prado Museum Madrid Circumcision of Jesus c 1523 Oil on wood 42 x 31 4 cm Detroit Institute of Arts Self portrait in a Convex Mirror c 1524 Oil on wood diameter 24 4 cm Kunsthistorisches Museum Vienna Portrait of a Collector c 1524 Oil on panel 86 x 94 cm National Gallery London Portrait of Galeazzo Sanvitale 1524 Oil on panel 109 x 81 cm Museo di Capodimonte Naples Portrait of Lorenzo Cybo 1524 Oil on panel 126 x 104 cm Statens Museum for Kunst Copenhagen Myth of Diana and Acteon c 1524 fresco Rocca Sanvitale Fontanellato Province of Parma The Holy Family with Angels c 1524 Oil on panel 110 x 89 cm Museo del Prado Madrid Antea c 1524 7 Oil on canvas 135 x 88 cm Museo di Capodimonte Naples Madonna and Child 1525 Galleria Doria Pamphili Rome Vision of Saint Jerome 1526 1527 Oil on panel 343 x 149 cm National Gallery London Conversion of Saint Paul c 1527 Oil on canvas 177 5 x 128 5 cm Kunsthistorisches Museum Vienna Holy Family with the Infant Saint John the Baptist c 1528 National Museum of Capodimonte Naples The Mystical Marriage of St Catherine 1529 Oil on panel 74 2 x 57 2 cm National Gallery London Turkish Slave Portrait of a Lady c 1533 Oil on panel 67 x 53 cm Galleria Nazionale di Parma Cupid Making His Arch c 1533 1535 Oil on panel 135 x 65 3 cm Kunsthistorisches Museum Vienna Madonna with the Long Neck 1534 40 Oil on wood 216 x 132 cm Uffizi Florence Portrait of Pier Maria Rossi di San Secondo c 1535 1539 Oil on panel 133 x 98 cm Museo del Prado Madrid Virgin and Child with Saint John the Baptist and Mary Magdalene c 1535 1540 Oil on panel 75 9 59 7cm J Paul Getty Museum Los Angeles Portrait of Camilla Gonzaga and Her Three Sons c 1539 1540 Oil on panel 128 x 97 cm Museo del Prado MadridSee also editSelf portrait in a Convex Mirror book Notes edit Oil on wood diameter 24 4 cm Kunsthistorisches Museum Vienna Parmigianino Lexico UK English Dictionary Oxford University Press Archived from the original on 2021 09 27 Parmigianino Merriam Webster com Dictionary Retrieved 15 June 2019 Hartt pp 568 578 578 quoted Vasari Giorgio Bull George translator 1988 Lives of the Artists Volume 2 pp 185 99 Penguin Classics ISBN 0 14 044460 2 The picture amateur s handbook and dictionary of painters by Philippe Daryl and Paschal Grousset Londong 1878 Michelle Leicht Correggio and Parmigianino exhibition Metropolitan Museum of Art 2001 on line review References edit nbsp Wikimedia Commons has media related to Parmigianino Hartt Frederick History of Italian Renaissance Art 2nd edn 1987 Thames amp Hudson US Harry N Abrams ISBN 0500235104 Parmigianino Cecil Gould ISBN 1 55859 892 8 Parmigianino The Paintings Mary Vaccaro ISBN 88 422 1131 1 Parmigianino The Drawings Sylvie Beguin et al ISBN 88 422 1020 X The Story of Art E H Gombrich London Phaidon Press Ltd 1995 ISBN 0 7148 3247 2 Parmigianino and European Mannerism Kunsthistorisches Museum Vienna in EnglishExternal links edit nbsp Media related to Parmigianino at Wikimedia Commons Parmigianino s biography style and artworks Parmigianino Biography at the National Gallery Parmigianino Gallery at MuseumSyndicate Prints amp People A Social History of Printed Pictures an exhibition catalog from The Metropolitan Museum of Art fully available online as PDF which contains material on Parmigianino see index Rossetti William Michael 1911 Parmigiano Encyclopaedia Britannica Vol 20 11th ed p 853 Retrieved from https en wikipedia org w index php title Parmigianino amp oldid 1220952369, wikipedia, wiki, book, books, library,

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