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The earliest surviving document, a deed for 50 scudi (compared to 33 scudi for the Madonna of the Long Neck) sworn by notary Andrea Ceroti of Parma on 27 October 1533 and sent to Gozzadini, is probably for the sale of the already-completed painting not the original commission. These 50 scudi were never paid, since - as shown by two powers of ...
Parmigianino was a pioneer of 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 ...
The total compensation for the paintings was reduced to 300 scudi for unknown reasons. [6] The paintings were finally installed in the chapel on 1 May 1605 by the woodworker Bartolomeo who received four scudi and fifty baiocchi from the Ospedale for his work. [7] The Odescalchi Balbi version of the painting. The first version
Sanvitale Madonna and Child (1524) by Parmigianino. The Sanvitale Madonna and Child is a 1524 fragment of a lunette fresco by Parmigianino at the Palazzetto Eucherio Sanvitale in Parma. [1] It is heavily influenced by Correggio, particularly quoting his Madonna of the Stairs.
The Zani family refused several buyers such as Vincenzo I Gonzaga (2 February 1585) and cardinal Farnese, who offered 40 scudi for it. Fifty copies from it had already been made by Vasari 's time, all commissioned by its owners whilst jealously guarding the original - one of them is now in the Royal Collection . [ 4 ]
The scudo (pl. scudi) was the name for a number of coins used in various states in the Italian peninsula until the 19th century. The name, like that of the French écu and the Spanish and Portuguese escudo, was derived from the Latin scutum ("shield"). From the 16th century, [1] the name was used in Italy for large silver coins. Sizes varied ...
The saint's pose may have been intended as an homage to Parmigianino's elder fellow artist Correggio, who was also based in Parma. Correggio's Venus and Cupid with a Satyr (Louvre} may have inspired St Jerome's pose with his feet forward, head tilted backwards and his body at once vertical and horizontal. In Correggio's painting, the naked love ...
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