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(pärmējänē`nō) or


(–jä`nō), 1503–40, Italian painter and etcher, one of the most sensitive mannerist artists (see mannerismmannerism,
a style in art and architecture (c.1520–1600), originating in Italy as a reaction against the equilibrium of form and proportions characteristic of the High Renaissance.
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) and one of the period's finest draftsmen. His real name was Girolamo Francesco Maria Mazzola. The name Parmigianino is derived from his birthplace, Parma. His early paintings show the pervasive influence of CorreggioCorreggio
, c.1494–1534, Italian painter, whose real name was Antonio Allegri, called Correggio for his birthplace. He learned the rudiments of art from his uncle Lorenzo Allegri.
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. These include The Marriage of St. Catherine (Parma Gall.) and the frescoes in San Giovanni Evangelista, where both artists painted. Parmigianino was in Rome for a few years, but had to flee during the sack of the city in 1527. He went to Bologna, where he painted the altarpiece Madonna and Child with St. Margaret and Other Saints. One of his most curious works is a painting of himself seen in the distorted reflection of a convex mirror (Vienna). In 1531 he returned to Parma and spent the last years of his life painting frescoes in Santa Maria della Steccata. His art is noted for its remarkable grace and sensuality and for its elongated figures. Among his important works are the Vision of St. Jerome (National Gall., London); Madonna dal Collo Lungo (Uffizi, Florence); and the Legend of Diane and Acteon (Rocca di Fontanellato, near Parma). Parmigianino was one of the first artists to use the technique of etching, and through this medium his style became influential in Italy and N Europe.


See A. E. Popham, Catalogue of the Drawings of Parmigianino (3 vol., 1971); study by S. Freedberg (1950, repr. 1971); D. Franklin and D. Ekserdjian, The Art of Parmigianino (2004).

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real name Girolamo Francesco Maria Mazzola. 1503--40, Italian painter, one of the originators of mannerism
Collins Discovery Encyclopedia, 1st edition © HarperCollins Publishers 2005
References in periodicals archive ?
Ur.', the figure of Portia may be adapted from Marcantonio's Prudence, while on a bowl showing Coriolanus before Rome, two of the soldiers are respectively copied from Marcantonio's David and Goliath and Caraglio's Martyrdom of Saints Peter and Paul after Parmigianino. On a plate of The Birth of John the Baptist, the dog in the engraving after Giulio Romano, which was its source, is in its turn copied from one in Dtirer's Visitation from the Marienleben.
Parmigianino's Madonna of the Long Neck: A Grace Beyond the Reach of Art
For instance, he says that a fascination with alchemy exhausted Parmigianino's (1503-1540) brain, which circumstance caused him to change "from a dainty and gentle person into an almost savage man with long, unkempt beard and locks, a creature quite different from his other self." Eventually, the artist, who died young, became "melancholic and eccentric." (5) In effect, Vasari claims that the "accidental" cause of Parmigianino's melancholy was alchemy.
1489-1534), Francesco Parmigianino (1503-1540), Polidoro da Caravaggio (c.
"The glass chose to reflect only what he saw/ which was enough for his purpose" (1) go two lines in Ashbery's masterpiece "Self-Portrait in a Convex Mirror." Ashbery's poem does many things, among them using Francesco Parmigianino's self-portrait to get at the dualism that drives the great artist: aware of what knowing oneself can reveal and afraid of what knowing oneself can reveal.
Nevertheless his strength manifests itself in his "Self Portrait in a Convex Mirror." The subject of this Pulitzer Price winning poem is the Parmaese painter Francesco Parmigianino who "drew himself as he appeared in a barber's convex mirror."
(21) For the theory of female beauty in Italian Renaissance art, see Elizabeth Cropper, "On Beautiful Women: Parmigianino, Petrarchismo and the Vernacular Style, " Art Bulletin, 58, 1976, pp.
(7) For example, according to The Boston Athenaeum Art Exhibition Index, in 1832 the Athenaeum exhibited the sixteenth-century Italian artist Francesco Mazzola Parmigianino's paintings "By unnamed copyists" (108).
Discoveries are everywhere, therefore it surprised me when I considered things that I could well have overlooked such as the lovely Gainsborough in Sudbury, an East Anglian marvel, or the lovely Man With A Book by Parmigianino which is to be found at York.
Starters include Aubergine Parmigianino, chargrilled aubergine baked in tomato sauce with basil and parmesan; Calamari Frito, fried squid with lemon mayonnaise and buffalo mozzarella with sun-blush tomato and pestodressed salad leaves.
Rubens travelled to Italy in 1600, visited collections, met with people who had known some the giants of the 16th-century personally, and made copies of the work of Titan, Mantegna, Correggio, and Parmigianino, among others.