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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]
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]
Portrait of a Young Man is an oil on panel painting by Parmigianino, executed c. 1530, now in the Uffizi in Florence, whose collection it entered on 27 October 1682. [1] Three copies survive in the Museo di Capodimonte (n. 201), Rome's Accademia di San Luca and the Galleria nazionale di Parma (n. 313, inscribed with the date "MDXX", which is ...
He is looking at the viewer while mischievously kicking his foot out of the painting. [4] Parmigianino's attention to detail is shown by the Baptist's reed cross, the speckled skin which covers him, the undergrowth near the sleeping Jerome, and the sheen on Mary's dress, the last perhaps inspired by classical sculptures seen by Parmigianino ...
The painting depicts the Virgin Mary seated on a high pedestal in luxurious robes, holding a large baby Jesus on her lap. Six angels crowded together on the Madonna's right adore the Christ-child. In the lower right-hand corner of the painting is an enigmatic scene, with a row of marble columns and the emaciated figure of St. Jerome. A ...
The subject of the painting remains largely a mystery. In 1671, Giacomo Barri , an artist and writer, referred to the woman as "Antea", the name of a famous 16th-century Roman courtesan, and stated she was the artist's mistress. [ 1 ]
The painting arrived in England in the early 19th century, in the collections of Lord Radstock, and was later auctioned at Christie's as Parmigianino's self-portrait. In 1857 it became part of the collections of Lord Strafford at Wrotham Park , being acquired by the National Gallery in 1977.
The work appears in the inventory of Francesco Baiardo in Parma, who was a friend and patron of Parmigianino.Late Renaissance art biographer Giorgio Vasari writes that Baiardo had commissioned the Cupido che fabbrica di sua mano un arco.