Girolamo Francesco Maria Mazzola, also known as Francesco Mazzola or, more commonly, as Parmigianino, was an Italian Mannerist painter and printmaker active in Florence, Rome, Bologna, and his native city of Parma.

The arm is echoed in the shapely sliver of foot visible beneath her robe, which in turn rhymes with the composition of Joseph's haloed profile in the bottom left. The soul establishes itself. The painting certainly garnered the consent of E. H. Gombrich who, in The Story of Art, suggested that his goal, and that of other Mannerists, was to create something "more interesting and unusual" than that of the former generation of Italian masters. Parmigianino has positioned the gold ring with a blue stone at the very centre of the painting. The boards and panels and doorways of the artist's home in Parma are visible in the background even as they seem to shy away in the distorted frame (the Renaissance painters, incidentally, had used mirrors as a tool for eradicating distortions), giving them a demur, intimate feel. 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. In their attempt to step out from the long shadow cast by the masters of the High Renaissance, the Mannerists challenge the idea of compositional harmony and were intent rather on exploring different perspectives and unusual spatial relations within the frame. Parmigianino was active mainly in Parma before moving to Rome in 1524, and after the Sack of Rome by Imperial troops in 1527 to Bologna. The full text of the article is here →, Self-Portrait in a Convex Mirror - Parmigianino, http://en.wikipedia.org/wiki/Parmigianino, Madonna with St. Stephen and St. John the Baptist, Three Foolish Virgins Flanked by Adam and Eve, Portrait of a young woman, possibly Countess Gozzadini. Beginning a career that was to last only two decades, he moved from precocious success in the shadow of Correggio in Parma to be hailed in the Rome of Clement VII as Raphael reborn.

The picture mixes different temporal perspectives, the same way it plays with spatial relations between figures: the size of the divine figures are for instance much larger than their distance into the background would suggest. Here, for instance, the drawing hand swings and flexes through the foreground of the globed composition, making it appear large and domineering, whilst the angelic delicacy of the boy-artist's face is allowed to recede into a kind of calm power in the mid-ground. Parmigianino Jan 11, 1503 - Aug 24, 1540 Girolamo Francesco Maria Mazzola, also known as Francesco Mazzola or, more commonly, as Parmigianino, was an Italian Mannerist painter and printmaker active in Florence, Rome, Bologna, and his native city of Parma. [Internet]. The Madonna's posture is relaxed, open and perhaps just a little carefree.

Gould proceeds by saying that "the picture hangs together so perfectly that the eye may not immediately perceive subtleties such as the way the green curtain, curving downward, and Saint Catherine's yellow draperies, curving upward, accentuate her alert and intelligent beauty, or how the doorway in the centre of the background frames both the mysterious figures in front of it, and also the central event of the picture - the exchange of the ring." See our Privacy Policy for more information about cookies. All Getty Research Institute Publications, Conservation Perspectives, The GCI Newsletter, GCI Reference Collection (for materials analysis), Research Assistance at GCI Information Center, Links to Cultural Heritage Policy Documents. He successfully managed to combine in his work the graceful and elegant style of the great masters with a new sense of movement and a striving for a sensuous beauty beyond nature. It is a remarkable achievement, and one that is exclusive to Parmigianino during the Renaissance. This information is published from the Museum's collection database. This is the only altarpiece, for the Caccialupi family chapel Parmigianino was commissioned to make whilst in Rome. Jerome's red robe balances the palette, gently echoed by the Virgin's loose, translucent slip. Beginning in 1520, the celebrated Renaissance artist Correggio became his primary inspiration. Following the Sack of Rome in 1527, Parmigianino escaped to Bologna, but within three years he had returned to Parma, where he received a commission to paint frescoes in another church.

Oil on canvas - Capodimonte Museum, Naples, Italy. Beginning in 1520, the celebrated Renaissance artist Correggio became his primary inspiration. The entire picture is lit by daylight originating from the window in the back-left, but then reflected from the mirror-surface back onto the boy's hand and face. Parmigianino was the leading painter of Parma after Correggio, and is celebrated as one of the originators and leading exponents of Mannerism. Of perhaps most importance is this painting's feeling of liberty and freedom in its brushstrokes, broader and quicker and more impressionistic than High-Renaissance tastes would allow in a Raphael or a Leonardo. All parmigianino artwork ships within 48 hours and includes a 30-day money-back guarantee.

Gombrich summed it up best perhaps when he said of Madonna dal Collo Longo "if this be madness there must be method in it. Though the fresco is widely considered to be wayward and incoherent in its symbolic programme - Gould for instance notes a "striking disregard for theological consistency" while Freedberg calls its methods "laggard in the extreme" - one detail is agreed to be a triumph: the depiction of Moses wielding the tablets. ©2020 The Art Story Foundation. Scholars believe that the younger artist may have assisted Correggio with his frescoes at a church in Parma, where Parmigianino may also have completed his own frescoes. We feel literally blinded by divine light.

‘Deposition’ was created by Parmigianino in Mannerism (Late Renaissance) style.

Find more prominent pieces of religious painting at Wikiart.org – best visual art database.

Whilst his peers and predecessors sought aesthetic perfection, the "Little One of Parma" wanted to amaze, confound, appal, and transcend. The child gazes into the face of his mother, who is turned with easy grace away from the viewer, her arm lying in postured elegance down by her side.

But how far can it swim out through our eyes, Oil on convex wood panel - Kunsthistorisches Museum, Vienna, Austria. Girolamo Francesco Maria Mazzola (also known as Francesco Mazzola or, more commonly, as Parmigianino (Italian pronunciation: [parmidʒanˈiːno], "the little one from Parma"); 11 January 1503 – 24 August 1540) was an Italian Mannerist painter and printmaker active in Florence, Rome, Bologna, and his native city of Parma.

His "Madonna with the long neck" became the talk of the town, and when it comes to mannerism, it is this picture that is stored in the Uffizi gallery in Florence, cited as an example of what artists - Mannerist "did not stop before the deformation of the human body". By 1530 Parmigianino had returned to Parma. He was imprisoned after nearly a decade of slow progress but escaped. Parmigianino, born Girolamo Francesco Maria Mazzola in Parma, Italy, became Italy's most influential Mannerist painter in his brief twenty-year career. Choose your favorite parmigianino designs and purchase them as wall art, home decor, phone cases, tote bags, and more! Parmigianino’s works are distinguished by ambiguity of spatial composition, by distortion and elongation of the human figure, and by the pursuit of what the art historian Giorgio Vasari called “grace”; that is to say, a rhythmical, sensuous beauty beyond the beauty of nature.
Parmigianino was an Italian Old Masters artist who was born in 1503.

Parmigianino's meticulous eye is evident at this early stage in details like the wood-panelling in the roof, the diamond-hatch leading of the window design, the frost or dust on the pane, and the play of light on the boy's ring (betraying an early glimmer, perhaps, of his later obsession with gold and alchemy). Vasari records that in Rome, Parmigianino was "celebrated as a Raphael reborn". Parmigianino, in his confident mature-phase, manages great pictorial harmony whilst also exploring the radical flourishes of the Mannerist sensibility.
", Oil on panel - Uffizi Gallery, Florence, Italy.

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