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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)
The work is mentioned by Late Renaissance art biographer Giorgio Vasari, who lists it as one of three small-size paintings that the artist brought to Rome with him in 1525. Vasari relays that the self-portrait was created by Parmigianino as an example to showcase his talent to potential customers. [1]
Parmigianino and all the artists of his time who deliberately sought to create something new and unexpected, even at the expense of the 'natural' beauty established by the great masters, were perhaps the first 'modern' artists. [3] Parmigianino has distorted nature for his own artistic purposes, creating a typical Mannerist figura serpentinata ...
In Parmigianino's Madonna with the Long Neck (1534–1540), ... The result was the first international artistic style since the Gothic. [26]
Antea (also known as Portrait of a Young Woman) is a painting by the Italian Mannerist artist Parmigianino. The painting is in the collection of the Museum of Capodimonte in Naples . History
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 ...
Art historians [3] have noted that the left-hand putto under Mary's hand is almost a twin copy of that painted by Parmigianino under the north arch of the dome in San Giovanni Evangelista, though it may be a mid 1520s study later used for that putto rather than vice versa. The present state of the work makes it impossible to define its origins ...
The art historian Ghidiglia Quintavalle theorised that the work was a late Parmigianino self-portrait, identifying it with "a coloured painting finished di lapis showing a self-portrait of the Parmesanino, 0.5 high by 4 tall", a work mentioned in a posthumous inventory of his studio. [1]