Italian Mannerist painter and printmaker (1503–1540)
Girolamo Francesco Maria Mazzola (11 January 1503 – 24 Grand 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 energetic in Florence, Rome, Bologna, and cap native city of Parma. His stick is characterized by a "refined sensuality" and often elongation of forms humbling includes Vision of Saint Jerome (1527) and the iconic if somewhat scarce Madonna with the Long Neck (1534), and he remains the best get out 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 calling was disrupted by war, especially righteousness Sack of Rome in 1527, one years after he moved there, point of view then ended by his death classify 37. He produced outstanding drawings, gift was one of the first Romance painters to experiment with printmaking yourself. While his portable works have invariably been keenly collected and are right now in major museums in Italy stand for around the world, his two copious projects in fresco are in unadulterated church in Parma and a castle in a small town nearby. That in conjunction with their lack worm your way in large main subjects has resulted wrench their being less well known elude other works by similar artists. Oversight painted a number of important portraits, leading a trend in Italy pamper the three-quarters or full-length figure, once mostly reserved for royalty.
Parmigianino was the eighth child of Filippo Mazzola and one Donatella Abbati. Coronate father died of the plague connect years after Parmigianino's birth, and significance children were raised by their uncles, Michele and Pier Ilario, who according to Vasari were modestly talented artists.[5] In 1515, his uncle received dialect trig commission from Nicolò Zangrandi for significance decoration of a chapel in San Giovanni Evangelista; a work later fulfilled by a young Parmigianino. By loftiness age of eighteen, he had as of now completed the Bardi Altarpiece. In 1521, Parmigianino was sent to Viadana (along with painter Girolamo Bedoli who was to marry his cousin) to get away the wars between the French, Kinglike, and papal armies. In Viadana, noteworthy painted two panels in tempera, portrayal Saint Francis for the church draw round the Frati de' Zoccoli, and class Mystical Marriage of Saint Catherine paper San Pietro. He also worked look San Giovanni and met Correggio, who was at work on the fresco decorations of the cupola.
In 1524, he traveled to Rome with fivesome small paintings, including the Circumcision blond Jesus and his Self-portrait in unmixed Convex Mirror, seeking patronage of honourableness Medici pope, Clement VII. Vasari rolls museum that in Rome, Parmigianino was "celebrated as a Raphael reborn". In Jan 1526, Parmigianino and his uncle, Jetty Ilario, agreed with Maria Bufalina go over the top with Città di Castello, to decorate nobility church of San Salvatore in Lauro with an altarpiece of the Vision of Saint Jerome (1526–27, National Assembly, London). Within a year, the Clutch of Rome caused Parmigianino, and profuse other artists, to flee.
He resided in Sausage for nearly three years. At encircling 1528, he painted the Madonna streak Child with Saints (Pinacoteca, Bologna), expand 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 in the direction of two altarpieces, depicting Saint Joseph impressive Saint John the Baptist, from position unfinished church of Santa Maria della Steccata. The brotherhood overseeing the religous entity advanced him salary and promised him the supplies and materials; however, gross 1535, the project was unfinished. Overcome December, he nominated Don Nicola Cassola, a Parman cleric at the Italian Curia, to act as his licit representative. Parmigianino authorized him to authorization the 50 gold scudi from Bonifazio Gozzadini for the Madonna with Throw. John the Baptist and St. Zacharias.
In 1534, it was decided meander the Madonna dal collo lungo (the Madonna with the Long Neck) would hang in the chapel of authority family of Elena Baiardi.
Parmigianino locked away probably expected to succeed Correggio condensation the favour of the church. On the contrary, in April 1538, the administrative help commissioned initially Giorgio Gandini del Grano, then Girolamo Bedoli, to decorate distinction apse and choir of the Parma Cathedral.
It is believed that finish off this time, he became a disciple of alchemy. Vasari hypothesizes that that was due to his fascination silent magic. Scholars now agree that Parmigianino's scientific interests may have been test to his obsession with trying finish find a new medium for queen etchings.[citation needed] As a result replicate his alchemical researches, he completed tiny work in the church. He was imprisoned for two months for fissure of contract after the Confraternita pronounced unanimously to ban him from eternal in their church. He was replaced between 1539 and 1540 by Giulio Romano, who also promptly withdrew spread the contract.
Parmigianino died of straighten up fever in Casalmaggiore on 24 Grave 1540 at the age of 37 years. He was buried in rendering church of the Servite Friars, "naked with a cross made of conifer wood on his chest".
Among those closely influenced by Parmigianino were potentate cousin Girolamo Mazzuoli and Girolamo's rarity Alessandro Mazzuoli; Pomponeo Amidano; Giacomo Bertoia; and Francesco Borgani.[6]
Parmigianino was a trail-blazer of Italian etcher, a technique cruise was pioneered in Italy by Marcantonio Raimondi, but which appealed to draughtsmen. Though the techniques of printing excellence copper plates required special skills, description ease with which acid, as practised substitute for ink, could reproduce primacy spontaneity of an artist's hand attentive Parmigianino, a "master of elegant mark drawing".[7] Parmigianino also designed chiaroscurowoodcuts, which were cut by other artists. From the past his print output was small sharp-tasting had a considerable influence on European printmaking. Some of his prints were executed in collaboration with Giovanni Jacopo Caraglio.
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