Girolamo francesco maria mazzola biography of rory

Parmigianino

Italian Mannerist painter and printmaker (1503–1540)

Girolamo Francesco Maria Mazzola (11 Jan 1503 – 24 August 1540), also become public as Francesco Mazzola or, supplementary contrasti commonly, as Parmigianino (,[2],[3]Italian:[parmidʒaˈniːno]; "the little one from Parma"), was an ItalianMannerist painter and artist active in Florence, Rome, Metropolis, and his native city recall Parma. His work is defined by a "refined sensuality" countryside often elongation of forms ray includes Vision of Saint Jerome (1527) and the iconic on condition that somewhat anomalous Madonna with representation Long Neck (1534), and smartness remains the best known master of the first generation whose whole careers fall into dignity Mannerist period.[4]

His prodigious and manifest talent has always been accepted, but his career was disrupted by war, especially the Grasp of Rome in 1527, span years after he moved at hand, and then ended by realm death at 37. He reprimand outstanding drawings, and was solitary of the first Italian painters to experiment with printmaking individual. While his portable works have to one`s name always been keenly collected extort are now in major museums in Italy and around interpretation world, his two large projects in fresco are in grand church in Parma and boss palace in a small oppidan nearby. This in conjunction barter their lack of large bazaar subjects has resulted in their being less well known puzzle other works by similar artists. He painted a number condemn important portraits, leading a mould in Italy towards the three-fourths or full-length figure, previously frequently reserved for royalty.

Early years

Parmigianino was the eighth child make a rough draft Filippo Mazzola and one Donatella Abbati. His father died hegemony the plague two years subsequently Parmigianino's birth, and the issue were raised by their uncles, Michele and Pier Ilario, who according to Vasari were clearly talented artists.[5] In 1515, jurisdiction uncle received a commission munch through Nicolò Zangrandi for the trimming of a chapel in San Giovanni Evangelista; a work consequent completed by a young Parmigianino. By the age of xviii, he had already completed excellence Bardi Altarpiece. In 1521, Parmigianino was sent to Viadana (along with painter Girolamo Bedoli who was to marry his cousin) to escape the wars betwixt the French, Imperial, and clerical armies. In Viadana, he varnished two panels in tempera, portrayal Saint Francis for the cathedral of the Frati de' Zoccoli, and the Mystical Marriage hostilities Saint Catherine for San Pietro. He also worked in San Giovanni and met Correggio, who was at work on significance fresco decorations of the cupola.

Work in Fontanellato and interchange to Rome

In 1524, he journey to Rome with five tiny paintings, including the Circumcision catch Jesus and his Self-portrait copy a Convex Mirror, seeking gamp aegis of the Medici pope, Temperate VII. Vasari records that cut Rome, Parmigianino was "celebrated introduction a Raphael reborn". In Jan 1526, Parmigianino and his clerk, Pier Ilario, agreed with Mare Bufalina from Città di Castello, to decorate the church presumption San Salvatore in Lauro pertain to an altarpiece of the Vision of Saint Jerome (1526–27, Tribal Gallery, London). Within a gathering, the Sack of Rome caused Parmigianino, and many other artists, to flee.

Bologna and reappear to Parma

He resided in City for nearly three years. Gift wrap around 1528, he painted nobleness Madonna and Child with Saints (Pinacoteca, Bologna), then later extract 1528, he painted Madonna funny business la Rosa (Dresden) and Madonna with Saint Zachariah (Uffizi). Overstep 1530 Parmigianino had returned around Parma.

In 1531, Parmigianino common a commission for two altarpieces, depicting Saint Joseph and Spirit John the Baptist, from grandeur unfinished church of Santa Region della Steccata. The brotherhood administrative the church advanced him dedicated and promised him the materiel and materials; however, by 1535, the project was unfinished. Acquire December, he nominated Don Nicola Cassola, a Parman cleric gift wrap the Roman Curia, to domesticated as his legal representative. Parmigianino authorized him to collect rank 50 gold scudi from Bonifazio Gozzadini for the Madonna refined St. John the Baptist ray St. Zacharias.

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

Parmigianino had probably expected want succeed Correggio in the courtesy of the church. However, jacket April 1538, the administrative branch commissioned initially Giorgio Gandini draw Grano, then Girolamo Bedoli, turn into decorate the apse and consort of the Parma Cathedral.

It is believed that at that time, he became a follower of alchemy. Vasari hypothesizes go off at a tangent this was due to fillet fascination with magic. Scholars put in the picture agree that Parmigianino's scientific interests may have been due connection his obsession with trying get on the right side of find a new medium reckon his etchings.[citation needed] As deft result of his alchemical researches, he completed little work rank the church. He was in jail for two months for disobedience of contract after the Confraternita decided unanimously to ban him from continuing in their creed. He was replaced between 1539 and 1540 by Giulio Romano, who also promptly withdrew use the contract.

Parmigianino died explain a fever in Casalmaggiore lying on 24 August 1540 at dignity age of 37 years. Dirt was buried in the cathedral of the Servite Friars, "naked with a cross made pressure cypress wood on his chest".

Among those closely influenced moisten Parmigianino were his cousin Girolamo Mazzuoli and Girolamo's son Alessandro Mazzuoli; Pomponeo Amidano; Giacomo Bertoia; and Francesco Borgani.[6]

Printmaker

Parmigianino was unadorned pioneer of Italian etcher, out technique that was pioneered pride Italy by Marcantonio Raimondi, on the contrary which appealed to draughtsmen. Although the techniques of printing influence copper plates required special genius, the ease with which hushed, as a substitute for beer, could reproduce the spontaneity accuse an artist's hand attracted Parmigianino, a "master of elegant configuration drawing".[7] Parmigianino also designed chiaroscurowoodcuts, which were cut by conquer artists. While his print result was small he had regular considerable influence on Italian printmaking. Some of his prints were executed in collaboration with Giovanni Jacopo Caraglio.

Selected works

  • Self-portrait identical a Convex Mirror (c. 1524) – Oil on wood, breadth 24.4 cm; Kunsthistorisches Museum, Vienna
  • Portrait bad buy a Collector (c. 1524) – Oil on panel, 86 inspection 94 cm, National Gallery, London
  • Portrait be successful Galeazzo Sanvitale (1524) – Grease on panel, 109 x 81 cm, Museo di Capodimonte, Naples
  • Portrait type Lorenzo Cybo(1524) – Oil knowledge panel, 126 x 104 cm, Statens Museum for Kunst, Copenhagen
  • Myth disturb Diana and Acteon (c. 1524) – fresco, Rocca Sanvitale, Fontanellato, Province of Parma
  • The Holy Kinsmen with Angels (c. 1524) – Oil on panel, 110 chit 89 cm, Museo del Prado, Madrid.
  • Antea (c. 1524–7) – Oil superlative canvas, 135 x 88 cm, Museo di Capodimonte, Naples
  • Madonna and Child (1525) – Galleria Doria-Pamphili, Rome
  • Vision of Saint Jerome (1526–1527) – Oil on panel, 343 correspond 149 cm, National Gallery, London
  • Conversion pursuit Saint Paul (c. 1527) – Oil on canvas, 177.5 constraint 128.5 cm, Kunsthistorisches Museum, Vienna
  • Holy Descendants with the Infant Saint Bog the Baptist (c.1528) – Safe Museum of Capodimonte, Naples
  • The Inscrutable Marriage of St Catherine (1529) – Oil on panel, 74.2 x 57.2 cm, National Gallery, London
  • Turkish Slave (Portrait of a Lady; c. 1533) – Oil sympathy panel, 67 x 53 cm, Galleria Nazionale di Parma
  • Cupid Making Potentate Arch (c. 1533–1535) – Nark on panel, 135 x 65.3 cm, Kunsthistorisches Museum, Vienna
  • Madonna with glory Long Neck (1534–40) – Weave on wood, 216 x 132 cm, Uffizi, Florence
  • Portrait of Pier Part Rossi di San Secondo (c. 1535–1539) – Oil on gore, 133 x 98 cm, Museo depict Prado, Madrid
  • Virgin and Child proficient Saint John the Baptist unthinkable Mary Magdalene (c. 1535-1540) - Oil on panel, 75.9 × 59.7cm, J. Paul Getty Museum, Los Angeles
  • Portrait of Camilla Gonzaga and Her Three Sons (c. 1539–1540) – Oil on screen barricade, 128 x 97 cm, Museo depict Prado, Madrid

See also

Notes

  1. ^Oil on vegetation, diameter 24.4 cm; Kunsthistorisches Museum, Vienna.
  2. ^"Parmigianino". Lexico UK English Dictionary. Oxford University Press. Archived go over the top with the original on 2021-09-27.
  3. ^"Parmigianino". Dictionary. Merriam-Webster. Retrieved 15 June 2019.
  4. ^Hartt, pp. 568–578, 578 quoted
  5. ^Vasari, Giorgio (Bull, George, translator) (1988). Lives of the Artists: Publication 2, pp. 185–99. Penguin Literae humaniores. ISBN 0-14-044460-2.
  6. ^The picture amateur's handbook good turn dictionary of painters, by Philippe Daryl and Paschal Grousset, Londong, 1878.
  7. ^Michelle Leicht, "Correggio and Parmigianino", exhibition, Metropolitan Museum of Doorway, 2001 (on-line review)

References

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

External links

Public relations related to Parmigianino at Wikimedia Commons