According to the art biographer Vasari, Parmigianino was working on … Yet a document dated 1533 states that the artist was paid fifty gold scudos by a Bolognese patrician, Bonifacio Gozzadini, for a work that has been identified with ours.

But what makes the painting unique is its gimmick. Parmigianino, Vasari suggests, might have been one of the greatest artists. Post was not sent - check your email addresses! Practical considerations also played a significant part in the composition. According to his 16th-century biographer Vasari, Parmigianino threw away his talent because he became obsessed by alchemy. Parmigianino was recognised as a prodigy when young; arriving in Rome with this self-portrait as a calling card, he was immediately given papal commissions.

Parmigianino’s decision to divide the composition in two and set the Virgin in front of the burst of light, and the Baptist’s pointing gesture, are based on Raphael’s Madonna of Foligno (Pinacoteca Vaticana, Vatican City), which was then on the high altar of Santa Maria in Aracoeli in Rome. All rights reserved.

Kunsthistorisches Museum, Vienna, Available for everyone, funded by readers. With his exaggeratedly long finger he points upwards to the Virgin and Child, seated in a burst of light against dark grey storm clouds.

Vasari says Parmigianino got a woodworker to construct it to the exact dimensions of the glass he used to paint the self-portrait. The Christ Child mischievously kicks his foot out of the painting towards us. Parmigianino died impoverished at the age of 37. Vasari relays that the self-portrait was created by Parmigianino as an example to showcase his talent to potential customers. Vasari compares him, in ability, looks and personality, to Raphael. In the darkened church the Baptist’s right arm would seem not only to curve upwards towards the Christ Child but also outwards from the painting, catching the light. The infant Christ places a ring on Saint Catherine’s finger in her vision of a ‘mystic marriage’. Artist: Il Parmigianino (1503-1540), real name Girolamo Francesco Maria Mazzola, who got his nickname from his home town, Parma. This altarpiece was commissioned for a burial chapel in San Salvatore in Lauro in Rome.
Change ), You are commenting using your Google account. Parmigianino was recognised as a prodigy when young; arriving in Rome with this self-portrait as a calling card, he was immediately given papal commissions.

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( Log Out /  Spectacularly, Parmigianino has not only studied himself in a convex mirror but reproduced what he sees. For Vasari, Parmigianino was a paragon of disegno. Jerome’s size and scale are difficult to reconcile with that of the other figures. Ph.D., English, Princeton University; Village Voice, Book Reviewer; Ph.D., History of Art, University of California, Berkeley; Center for Advanced Study in the Visual Arts (CASVA), Fellow; UCLA, Art History and Comparative Literature Lecturer, University of Southern California, Art History, Lecturer; Getty Research Institute, Collection Development, Research Assistant, Research and Education Department, Research Associate; Current: private collection management; collection photography; authentication & appraisal; writing a book on Andy Warhol's Portraits. As a charity, we depend upon the generosity of individuals to ensure the collection continues to engage and inspire. Parmigianino has positioned the gold ring with a blue stone at the very centre of the painting. The unsettling spatial organisation is typical of Parmigianino’s self-consciously artificial style and is characteristic of the work of other contemporary artists, since commonly described as Mannerists.

Saint Jerome lies sleeping on the ground, exhausted from his vigils in the wilderness, clutching a cross with the crucified Christ. According to Vasari, Parmigianino was working on this picture when imperial troops burst into his workshop, but ’seeing him [and] stupefied at this work… they let him pursue it'.

Parmigianino had to arrange his figures within a compact vertical design that fitted into the awkward tall narrow space allocated for the altarpiece in its intended location.

The image file is 800 pixels on the longest side. Change ), You are commenting using your Twitter account. His last years were spent mainly in Parma and partly, according to Vasari, in the pursuit of alchemy. The types and poses of the Virgin and Child originate with the work of Michelangelo, particularly the Bruges Madonna, but the tempestuous drama of the image is Parmigianino’s own invention.


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