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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).


real name Girolamo Francesco Maria Mazzola. 1503--40, Italian painter, one of the originators of mannerism
References in periodicals archive ?
Tampoco olvidemos que precisamente en 1523 Parmigianino elabora su Autorretrato en espejo convexo, inaugurando con ello el Manierismo, es decir, dando al arte la posibilidad de abarcar un punto de vista diferente al del Clasicismo, un punto de vista que se atreve incluso a plantear la existencia de la belleza mas alla del canon clasico.
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.
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.
Parmigianino (15031540), en su Autorretrato en el espejo convexo, tambien emplea la distorsion natural de la imagen como medio para desviar no solo las formas sino tambien los colores, que se degradan sosegadamente en el reflejo del espejo.
He illustrates his sense of what mannerism was by contrasting paintings by representatives of the High Renaissance like Raphael with works on similar subjects by later artists like Parmigianino and Pantormo.
He received his early lessons at home from his father, Francesco the Elder, a provincial painter, and retained some attachment to these humble roots, despite his grasp of art developments of his day, among them mannerism and the engravings of Durer and Parmigianino.
Even when commentators were familiar with some of the classical commentary of the Hindu tradition, it did not seem to dampen their enthusiasm for thinking in terms of moves from Giotto to Raphael to Parmigianino, when there is little in the work of any portion of the Indian tradition that would give the observer the notion that a comparatively straight line trajectory is involved in the continuum represented by the work.
Si analizzano quivi quadri del Sodoma, del Parmigianino, di Tiziano, del Veronese e di Sebastiano del Piombo (265-81).
Podemos realizar estas afirmaciones gracias a la documentacion conservada en el Archivo del Ministerio de Asuntos Exteriores y en el Archivo General del Palacio Real de Madrid, que indica que el cuadro fue comprado por Carlos IV en Roma, junto con, al menos, otro lienzo de Jordan con el Descendimiento, en el que al parecer el napolitano recordaba el estilo del Parmigianino (47).
The other painters and artists whom Caulfield states influenced her, often leading her to play with their images in her poetry, are da Messina, Parmigianino, Chagall, and da Vinci (68-71; 72-78).