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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 ...
It dates to just before Parmigianino set off for Rome in 1525, particularly by comparing it with his other works from that period such as his Diana and Actaeon frescoes at Rocca di Fontanellato. Preparatory drawings for the work survive in the British Museum 's Department of Prints and Drawings, [ 2 ] the Cabinet des Dessins at the Louvre [ 3 ...
Girolamo Francesco Maria Mazzola (11 January 1503 – 24 August 1540), also known as Francesco Mazzola or, more commonly, as Parmigianino (UK: / ˌ p ɑːr m ɪ dʒ æ ˈ n iː n oʊ /, [2] US: /-dʒ ɑː ˈ-/, [3] Italian: [parmidʒaˈniːno]; "the little one from Parma"), was an Italian Mannerist painter and printmaker active in Florence, Rome, Bologna, and his native city of Parma.
The work, together with other four attributed to Parmigianino, was listed in the "wardrobe" of Ranuccio Farnese in 1587, as a Portrait of a Priest.A more detailed description from 1670, of the works in the Palazzo del Giardino at Parma, also identifies the subject as religious man.
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 ...
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 ...
A notarial deed dated 19 January 1602 formally dissolved their partnership, with terms that specified that Thomassin was to receive 500 scudi in exchange for giving Turpin a proportion of his share of their business, which, if the share given to Turpin was worth more than 500 scudi, was to be considered a gift from Thomassin. [4]
It is mentioned in a 1686 inventory of the collections of the Royal Alcazar of Madrid, as the wife of the count of San Sigundo.The subject has been identified with Camilla Gonzaga, wife of imperial general Pier Maria III de' Rossi basing on this note, and by another from 1630 by one of his descendants about the existence of a portrait of him by Parmigianino.