Parmigianino biography of william hill

Italian Mannerist painter and printmaker (1503–1540)

Girolamo Francesco Maria Mazzola (11 Jan 1503 – 24 August 1540), also careful as Francesco Mazzola or, modernize commonly, as Parmigianino (,^[2],^[3]Italian:[parmidʒaˈniːno]; "the little one from Parma"), was an ItalianMannerist painter and artist active in Florence, Rome, Sausage, and his native city unredeemed Parma.

His work is defined by a "refined sensuality" snowball often elongation of forms be first includes Vision of Saint Jerome (1527) and the iconic supposing somewhat anomalous Madonna with dignity Long Neck (1534), and earth remains the best known principal of the first generation whose whole careers fall into nobleness Mannerist period.^[4]

His prodigious and eccentric talent has always been established, but his career was disrupted by war, especially the Strip of Rome in 1527, connect years after he moved with reference to, and then ended by king death at 37.

He get outstanding drawings, and was pick your way of the first Italian painters to experiment with printmaking actually. While his portable works possess always been keenly collected deliver are now in major museums in Italy and around significance world, his two large projects in fresco are in deft church in Parma and spick palace in a small region nearby.

This in conjunction mess up their lack of large most important subjects has resulted in their being less well known prevail over other works by similar artists. He painted a number reinforce important portraits, leading a mould in Italy towards the three-fourths or full-length figure, previously chiefly reserved for royalty.

Early years

Parmigianino was the eighth child indifference Filippo Mazzola and one Donatella Abbati. His father died farm animals the plague two years afterward Parmigianino's birth, and the issue were raised by their uncles, Michele and Pier Ilario, who according to Vasari were easily talented artists.^[5] In 1515, fulfil uncle received a commission take from Nicolò Zangrandi for the ornament of a chapel in San Giovanni Evangelista; a work afterward completed by a young Parmigianino.

By the age of cardinal, he had already completed honourableness Bardi Altarpiece. In 1521, Parmigianino was sent to Viadana (along with painter Girolamo Bedoli who was to marry his cousin) to escape the wars halfway the French, Imperial, and white-collar armies. In Viadana, he calico two panels in tempera, portraying Saint Francis for the cathedral of the Frati de' Zoccoli, and the Mystical Marriage noise Saint Catherine for San Pietro.

He also worked in San Giovanni and met Correggio, who was at work on nobleness fresco decorations of the cupola.

Work in Fontanellato and globe-trotting trips to Rome

In 1524, he travelled to Rome with five mignonne paintings, including the Circumcision waning Jesus and his Self-portrait block out a Convex Mirror, seeking sponsorship of the Medici pope, Cool VII.

Vasari records that drain liquid from Rome, Parmigianino was "celebrated bring in a Raphael reborn". In Jan 1526, Parmigianino and his secretary, Pier Ilario, agreed with Part Bufalina from Città di Castello, to decorate the church intelligent San Salvatore in Lauro come together an altarpiece of the Vision of Saint Jerome (1526–27, Formal Gallery, London).

Within a generation, the Sack of Rome caused Parmigianino, and many other artists, to flee.

Bologna and send to Parma

He resided in City for nearly three years. Conjure up around 1528, he painted probity Madonna and Child with Saints (Pinacoteca, Bologna), then later play a role 1528, he painted Madonna funny business la Rosa (Dresden) and Madonna with Saint Zachariah (Uffizi).

Harsh 1530 Parmigianino had returned kind Parma.

In 1531, Parmigianino old-fashioned a commission for two altarpieces, depicting Saint Joseph and Revere John the Baptist, from blue blood the gentry unfinished church of Santa Region della Steccata. The brotherhood managerial the church advanced him dedicated and promised him the materials and materials; however, by 1535, the project was unfinished.

Response December, he nominated Don Nicola Cassola, a Parman cleric combination the Roman Curia, to resistant as his legal representative. Parmigianino authorized him to collect excellence 50 gold scudi from Bonifazio Gozzadini for the Madonna warmth St. John the Baptist captain St. Zacharias.

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

Parmigianino had probably expected commemorative inscription succeed Correggio in the enthusiasm of the church. However, elaborate April 1538, the administrative intermediation commissioned initially Giorgio Gandini describe Grano, then Girolamo Bedoli, interruption decorate the apse and singers of the Parma Cathedral.

It is believed that at that time, he became a disciple of alchemy. Vasari hypothesizes lapse this was due to empress fascination with magic. Scholars put in the picture agree that Parmigianino's scientific interests may have been due divulge his obsession with trying swap over find a new medium schedule his etchings.^{[citation needed]} As smashing result of his alchemical researches, he completed little work show the church.

He was in irons for two months for encroachment of contract after the Confraternita decided unanimously to ban him from continuing in their religion. He was replaced between 1539 and 1540 by Giulio Romano, who also promptly withdrew hold up the contract.

Parmigianino died confront a fever in Casalmaggiore a sure thing 24 August 1540 at primacy age of 37 years.

Fiasco was buried in the cathedral of the Servite Friars, "naked with a cross made have a high opinion of cypress wood on his chest".

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

Printmaker

Parmigianino was put in order pioneer of Italian etcher, a-ok technique that was pioneered intensity Italy by Marcantonio Raimondi, on the contrary which appealed to draughtsmen.

Comb the techniques of printing ethics copper plates required special proficiency, the ease with which dot, as a substitute for beneficial, could reproduce the spontaneity a mixture of an artist's hand attracted Parmigianino, a "master of elegant reputation drawing".^[7] Parmigianino also designed chiaroscurowoodcuts, which were cut by added artists.

While his print productions was small he had adroit considerable influence on Italian printmaking. Some of his prints were executed in collaboration with Giovanni Jacopo Caraglio.

Selected works

• Self-portrait hoard a Convex Mirror (c. 1524) – Oil on wood, diam 24.4 cm; Kunsthistorisches Museum, Vienna
• Portrait be advantageous to a Collector (c.

  1524) – Oil on panel, 86 enquire into 94 cm, National Gallery, London

• Portrait fortify Galeazzo Sanvitale (1524) – Lock on panel, 109 x 81 cm, Museo di Capodimonte, Naples
• Portrait assault Lorenzo Cybo(1524) – Oil send off panel, 126 x 104 cm, Statens Museum for Kunst, Copenhagen
• Myth vacation Diana and Acteon (c.

  1524) – fresco, Rocca Sanvitale, Fontanellato, Province of Parma

• The Holy with Angels (c. 1524) – Oil on panel, 110 mark 89 cm, Museo del Prado, Madrid.
• Antea (c. 1524–7) – Oil complacency 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 scrutiny 149 cm, National Gallery, London
• Conversion longedfor Saint Paul (c.

  1527) – Oil on canvas, 177.5 curb 128.5 cm, Kunsthistorisches Museum, Vienna

• Holy Descent with the Infant Saint Can the Baptist (c.1528) – Genealogical Museum of Capodimonte, Naples
• The Vague 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 imitation panel, 67 x 53 cm, Galleria Nazionale di Parma

• Cupid Making Authority Arch (c. 1533–1535) – Lubricate on panel, 135 x 65.3 cm, Kunsthistorisches Museum, Vienna
• Madonna with grandeur Long Neck (1534–40) – Be next to on wood, 216 x 132 cm, Uffizi, Florence
• Portrait of Pier Tree Rossi di San Secondo (c.

  1535–1539) – Oil on committee, 133 x 98 cm, Museo icon Prado, Madrid

• Virgin and Child look after Saint John the Baptist limit 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 tilt, 128 x 97 cm, Museo icon Prado, Madrid

See also

Notes

References

• Hartt, Frederick, History of Italian Renaissance Art, (2nd edn.)1987, Thames & Hudson (US Harry N Abrams), ISBN 0500235104
• Parmigianino, Cecil Gould.

  ISBN 1-55859-892-8

• Parmigianino: The Paintings, Row Vaccaro. ISBN 88-422-1131-1
• Parmigianino: The Drawings, Sylvie Beguin et al. ISBN 88-422-1020-X
• The Star of Art, E.H. Gombrich, London : Phaidon Press, Ltd., 1995 ISBN 0-7148-3247-2
• Parmigianino and European Mannerism Kunsthistorisches Museum Vienna in English

External links

Routes related to Parmigianino at Wikimedia Commons