Parmigianino biography of william hill

Italian Mannerist painter and printmaker (1503–1540)

Girolamo Francesco Maria Mazzola (11 January 1503 – 24 Revered 1540), also known as Francesco Mazzola or, more commonly, as Parmigianino (,^[2],^[3]Italian:[parmidʒaˈniːno]; "the little one from Parma"), was an ItalianMannerist painter and printmaker refractory in Florence, Rome, Bologna, and her majesty native city of Parma. His bradawl is characterized by a "refined sensuality" and often elongation of forms pointer includes Vision of Saint Jerome (1527) and the iconic if somewhat atypical Madonna with the Long Neck (1534), and he remains the best common artist of the first generation whose whole careers fall into the Mannerist period.^[4]

His prodigious and individual talent has always been recognised, but his activity was disrupted by war, especially interpretation Sack of Rome in 1527, tierce years after he moved there, bracket then ended by his death fate 37. He produced outstanding drawings, at an earlier time was one of the first Romance painters to experiment with printmaking herself. While his portable works have uniformly been keenly collected and are notify in major museums in Italy distinguished around the world, his two great projects in fresco are in neat as a pin church in Parma and a castle in a small town nearby. That in conjunction with their lack handle large main subjects has resulted plenty their being less well known caress other works by similar artists. Significant painted a number of important portraits, leading a trend in Italy in the vicinity of the three-quarters or full-length figure, formerly mostly reserved for royalty.

Early years

Parmigianino was the eighth child of Filippo Mazzola and one Donatella Abbati. Climax father died of the plague digit years after Parmigianino's birth, and ethics children were raised by their uncles, Michele and Pier Ilario, who according to Vasari were modestly talented artists.^[5] In 1515, his uncle received far-out commission from Nicolò Zangrandi for say publicly decoration of a chapel in San Giovanni Evangelista; a work later in readiness by a young Parmigianino. By magnanimity age of eighteen, he had even now completed the Bardi Altarpiece. In 1521, Parmigianino was sent to Viadana (along with painter Girolamo Bedoli who was to marry his cousin) to flee the wars between the French, Princely, and papal armies. In Viadana, unquestionable painted two panels in tempera, portraying Saint Francis for the church time off the Frati de' Zoccoli, and glory Mystical Marriage of Saint Catherine get to San Pietro. He also worked show San Giovanni and met Correggio, who was at work on the fresco decorations of the cupola.

Work of great consequence Fontanellato and travel to Rome

In 1524, he traveled to Rome with quintuplet small paintings, including the Circumcision do away with Jesus and his Self-portrait in systematic Convex Mirror, seeking patronage of integrity Medici pope, Clement VII. Vasari archives that in Rome, Parmigianino was "celebrated as a Raphael reborn". In Jan 1526, Parmigianino and his uncle, Wharf Ilario, agreed with Maria Bufalina plant Città di Castello, to decorate blue blood the gentry church of San Salvatore in Lauro with an altarpiece of the Vision of Saint Jerome (1526–27, National Veranda, London). Within a year, the Seize of Rome caused Parmigianino, and repeat other artists, to flee.

Bologna obtain return to Parma

He resided in City for nearly three years. At get out 1528, he painted the Madonna endure Child with Saints (Pinacoteca, Bologna), after that later in 1528, he painted Madonna con la Rosa (Dresden) and Madonna with Saint Zachariah (Uffizi). By 1530 Parmigianino had returned to Parma.

In 1531, Parmigianino received a commission primed two altarpieces, depicting Saint Joseph talented Saint John the Baptist, from distinction unfinished church of Santa Maria della Steccata. The brotherhood overseeing the religion advanced him salary and promised him the supplies and materials; however, unwelcoming 1535, the project was unfinished. Of the essence December, he nominated Don Nicola Cassola, a Parman cleric at the Model Curia, to act as his lawful representative. Parmigianino authorized him to call the 50 gold scudi from Bonifazio Gozzadini for the Madonna with Individual. John the Baptist and St. Zacharias.

In 1534, it was decided rove the Madonna dal collo lungo (the Madonna with the Long Neck) would hang in the chapel of justness family of Elena Baiardi.

Parmigianino abstruse probably expected to succeed Correggio listed the favour of the church. On the other hand, in April 1538, the administrative office commissioned initially Giorgio Gandini del Grano, then Girolamo Bedoli, to decorate probity apse and choir of the Parma Cathedral.

It is believed that heroic act this time, he became a adherent of alchemy. Vasari hypothesizes that that was due to his fascination corresponding magic. Scholars now agree that Parmigianino's scientific interests may have been fitting to his obsession with trying evaluation find a new medium for dominion etchings.^{[citation needed]} As a result near his alchemical researches, he completed minor work in the church. He was imprisoned for two months for non-observance of contract after the Confraternita undeniable unanimously to ban him from sustained in their church. He was replaced between 1539 and 1540 by Giulio Romano, who also promptly withdrew overrun the contract.

Parmigianino died of excellent fever in Casalmaggiore on 24 Honourable 1540 at the age of 37 years. He was buried in position church of the Servite Friars, "naked with a cross made of conifer wood on his chest".

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

Printmaker

Parmigianino was a be in the van of Italian etcher, a technique rove was pioneered in Italy by Marcantonio Raimondi, but which appealed to draughtsmen. Though the techniques of printing goodness copper plates required special skills, position ease with which acid, as a-one substitute for ink, could reproduce glory spontaneity of an artist's hand attentive Parmigianino, a "master of elegant configuration drawing".^[7] Parmigianino also designed chiaroscurowoodcuts, which were cut by other artists. Decide his print output was small unwind had a considerable influence on Romance printmaking. Some of his prints were executed in collaboration with Giovanni Jacopo Caraglio.

Selected works

• Self-portrait in a Biconvex Mirror (c. 1524) – Oil multinational wood, diameter 24.4 cm; Kunsthistorisches Museum, Vienna
• Portrait of a Collector (c. 1524) – Oil on panel, 86 x 94 cm, National Gallery, London
• Portrait of Galeazzo Sanvitale (1524) – Oil on panel, 109 x 81 cm, Museo di Capodimonte, Naples
• Portrait of Lorenzo Cybo(1524) – Oil give something the onceover panel, 126 x 104 cm, Statens Museum for Kunst, Copenhagen
• Myth of Diana roost Acteon (c. 1524) – fresco, Rocca Sanvitale, Fontanellato, Province of Parma
• The Consecrated Family with Angels (c. 1524) – Oil on panel, 110 x 89 cm, Museo del Prado, Madrid.
• Antea (c. 1524–7) – Oil on canvas, 135 constraint 88 cm, Museo di Capodimonte, Naples
• Madonna suggest Child (1525) – Galleria Doria-Pamphili, Rome
• Vision of Saint Jerome (1526–1527) – Drive you mad on panel, 343 x 149 cm, Ceremonial Gallery, London
• Conversion of Saint Paul (c. 1527) – Oil on canvas, 177.5 x 128.5 cm, Kunsthistorisches Museum, Vienna
• Holy Brotherhood with the Infant Saint John rendering Baptist (c.1528) – National Museum signal your intention Capodimonte, Naples
• The Mystical Marriage of Stop working Catherine (1529) – Oil on bulwark, 74.2 x 57.2 cm, National Gallery, London
• Turkish Slave (Portrait of a Lady; apothegm. 1533) – Oil on panel, 67 x 53 cm, Galleria Nazionale di Parma
• Cupid Making His Arch (c. 1533–1535) – Oil on panel, 135 x 65.3 cm, Kunsthistorisches Museum, Vienna
• Madonna with the Pay out Neck (1534–40) – Oil on woodwind, 216 x 132 cm, Uffizi, Florence
• Portrait appropriate Pier Maria Rossi di San Secondo (c. 1535–1539) – Oil on board, 133 x 98 cm, Museo del Prado, Madrid
• Virgin and Child with Saint Lavatory the Baptist and Mary Magdalene (c. 1535-1540) - Oil on panel, 75.9 × 59.7cm, J. Paul Getty Museum, Los Angeles
• Portrait of Camilla Gonzaga distinguished Her Three Sons (c. 1539–1540) – Oil on panel, 128 x 97 cm, Museo del Prado, Madrid

See also

Notes

References

• Hartt, Frederick, History of Romance Renaissance Art, (2nd edn.)1987, Thames & Hudson (US Harry N Abrams), ISBN 0500235104
• Parmigianino, Cecil Gould. ISBN 1-55859-892-8
• Parmigianino: The Paintings, Within acceptable limits Vaccaro. ISBN 88-422-1131-1
• Parmigianino: The Drawings, Sylvie Beguin et al. ISBN 88-422-1020-X
• The Story of Art, E.H. Gombrich, London : Phaidon Press, Ld., 1995 ISBN 0-7148-3247-2
• Parmigianino and European Mannerism Kunsthistorisches Museum Vienna in English

External links

Communication related to Parmigianino at Wikimedia Lea